{"id":17551,"date":"2024-11-19T08:56:43","date_gmt":"2024-11-19T07:56:43","guid":{"rendered":"https:\/\/pinacotecabrera.org\/collezioni\/conservazione-e-restauro\/sposalizio-della-vergine\/"},"modified":"2026-02-09T11:34:38","modified_gmt":"2026-02-09T10:34:38","slug":"disputation-over-the-immaculate-conception","status":"publish","type":"restauro","link":"https:\/\/pinacotecabrera.org\/en\/collezioni\/conservazione-e-restauro\/disputation-over-the-immaculate-conception\/","title":{"rendered":"Disputation over the Immaculate Conception"},"content":{"rendered":"<section  class=\"\">\n        <div id=\"restauro-hero\">\n       \n        \n        <div class=\"alignfull padding py-6 md:py-12\">\n            <div id=\"opera-title\" class=\"alignwide\">\n              \n              <div class=\"w-full mb-6 md:mb-12\">\n                <h1 class=\"italic\">Disputation over the Immaculate Conception<\/h1>\n              <\/div>\n      \n              <div class=\"flex flex-col md:flex-row gap-12\">\n                \n                <div class=\"md:w-1\/3 hidden md:block\">\n                  <h5 class=\"uppercase mb-12\">Technical Details<\/h5>\n                  <ul class=\"flex flex-col gap-4\">\n                    <li>\n                      <h5>Title<\/h5>\n                      Disputation over the Immaculate Conception\n                    <\/li>\n                                          <li>\n                        <h5>Author<\/h5>\n                        Girolamo Genga\n                      <\/li>\n                                                              <li>\n                        <h5>Year<\/h5>\n                        1516 &#8211; 8\n                      <\/li>\n                                                              <li>\n                        <h5>Dimensions<\/h5>\n                        cm 438 \u00d7 290\n                      <\/li>\n                                                              <li>\n                        <h5>Inventory<\/h5>\n                        159\n                      <\/li>\n                                                            <li>\n                      <h5>Materials and Techniques<\/h5>\n                      Oil on panel\n                    <\/li>\n                                        \n                                          <li>\n                        <h5>Room<\/h5>\n                        XXVII\n                      <\/li>\n                                                          <\/ul>\n                <\/div>\n      \n                \n                <div class=\"md:w-2\/3 order-1 md:order-2\">\n                        \n                        \n                   \n                   <div id=\"opera-dzi-image\" class=\"mb-6 aspect-square bg-black w-full\" \n                   data-dzi=\"https:\/\/pinacotecabrera.org\/wp-content\/uploads\/2024\/11\/disputa-sull-incarnazione-genga-brera.jpg\"\n                   data-width=\"1269\"\n                   data-height=\"1920\"\n                   data-images-path=\"https:\/\/pinacotecabrera.org\/wp-content\/themes\/pinacoteca-theme\/open_sea_dragon_images\/\"\n                    ><\/div>\n                      \n                                   \n      \n                  \n                  <div class=\"md:hidden\">\n                    <h5 class=\"uppercase mb-6\">Technical Details<\/h5>\n                    <ul class=\"flex flex-col gap-3\">\n                      <li>\n                        <h5>Title<\/h5>\n                        Disputation over the Immaculate Conception\n                      <\/li>\n                                              <li>\n                          <h5>Author<\/h5>\n                          Girolamo Genga\n                        <\/li>\n                                                                    <li>\n                          <h5>Year<\/h5>\n                          1516 &#8211; 8\n                        <\/li>\n                                                                    <li>\n                          <h5>Dimensions<\/h5>\n                          cm 438 \u00d7 290\n                        <\/li>\n                                                                    <li>\n                          <h5>Inventory<\/h5>\n                          159\n                        <\/li>\n                                                                    <li>\n                          <h5>Room<\/h5>\n                          XXVII\n                        <\/li>\n                                                                <\/ul>\n                  <\/div>\n      \n                 \n                <\/div>\n              <\/div>\n            <\/div>\n        <\/div>\n\n    <\/div>\n    <\/section>\n\n\n<div class=\"wp-block-group alignfull padding restauro-content is-layout-constrained wp-block-group-is-layout-constrained\">\n<div class=\"wp-block-group alignwide is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p class=\"big\">Girolamo Genga (Urbino, 1476-1551) worked between Urbino, Siena, Florence, Romagna, Rome and Pesaro. Trained in Perugia with Signorelli and Perugino, he then reworked the influences of Pinturicchio, Sodoma, Fra&#8217; Bartolomeo, Raphael and Michelangelo in an anticlassical way.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<figure class=\"wp-block-image aligncenter size-medium wp-image-19519\"><img decoding=\"async\" src=\"https:\/\/pinacotecabrera.org\/wp-content\/uploads\/2021\/05\/Pinacoteca-Brera-Genga-Disputa-totale-396x600.png\" alt=\"Disputa con i Dottori della Chiesa\" class=\"wp-image-19519\"\/><figcaption class=\"wp-element-caption\">Fig. 1 Girolamo Genga, <em>Disputa con i Dottori della Chiesa<\/em><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>The large panel, executed between 1516 and 1518, was conceived for the church of Sant&#8217;Agostino in Cesena, within a monumental \u201cmachine\u201d that also framed other paintings: the three compartments of the predella with stories of St. Augustine, the cymatium depicting the Annunciation, and at the base of the columns two figures of Augustinian Blesseds, now lost (Fig. 2).<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:20%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:80%\">\n<figure class=\"wp-block-image aligncenter size-large size-medium wp-image-19521\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"488\" src=\"https:\/\/pinacotecabrera.org\/wp-content\/uploads\/2024\/11\/Pinacoteca-Brera-Genga-Disputa-restauro-600x286-1-1024x488.jpg\" alt=\"ricostruzione grafica dell\u2019ancona di S. Agostino a Cesena\" class=\"wp-image-9023\" srcset=\"https:\/\/pinacotecabrera.org\/wp-content\/uploads\/2024\/11\/Pinacoteca-Brera-Genga-Disputa-restauro-600x286-1-1024x488.jpg 1024w, https:\/\/pinacotecabrera.org\/wp-content\/uploads\/2024\/11\/Pinacoteca-Brera-Genga-Disputa-restauro-600x286-1-300x143.jpg 300w, https:\/\/pinacotecabrera.org\/wp-content\/uploads\/2024\/11\/Pinacoteca-Brera-Genga-Disputa-restauro-600x286-1-768x366.jpg 768w, https:\/\/pinacotecabrera.org\/wp-content\/uploads\/2024\/11\/Pinacoteca-Brera-Genga-Disputa-restauro-600x286-1-1536x732.jpg 1536w, https:\/\/pinacotecabrera.org\/wp-content\/uploads\/2024\/11\/Pinacoteca-Brera-Genga-Disputa-restauro-600x286-1.jpg 1678w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">On the left, fig. 2, ricostruzione grafica dell\u2019ancona di S. Agostino a Cesena; on the right, fig. 3 il \u201crestauro visibile\u201d in XXVII room<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>In 1809, with the Napoleonic requisitions, the Dispute of the Doctors of the Church arrived at Brera.<br>In recent years the painting, affected by cracks in the support and blurred by retouches and altered varnishes, has been the subject of a complex restoration project, to carry out which a structure has been set up in room XXVII of the museum that makes it possible for visitors to follow each stage of the restoration.<\/p>\n\n\n\n<p>The restoration is accompanied by accurate photographic documentation, and scientific investigations that have deepened our knowledge of the painting technique and the state of conservation of the work.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:20%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:80%\">\n<figure class=\"wp-block-image aligncenter size-large size-medium wp-image-19522\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"406\" src=\"https:\/\/pinacotecabrera.org\/wp-content\/uploads\/2024\/11\/Pinacoteca-Brera-Genga-Disputa-restauro-02-600x238-1-1024x406.jpg\" alt=\"detail in diffuse and grazing visible light, IR reflectography, infrared false color and ultraviolet fluorescence.\" class=\"wp-image-9025\" srcset=\"https:\/\/pinacotecabrera.org\/wp-content\/uploads\/2024\/11\/Pinacoteca-Brera-Genga-Disputa-restauro-02-600x238-1-1024x406.jpg 1024w, https:\/\/pinacotecabrera.org\/wp-content\/uploads\/2024\/11\/Pinacoteca-Brera-Genga-Disputa-restauro-02-600x238-1-300x119.jpg 300w, https:\/\/pinacotecabrera.org\/wp-content\/uploads\/2024\/11\/Pinacoteca-Brera-Genga-Disputa-restauro-02-600x238-1-768x305.jpg 768w, https:\/\/pinacotecabrera.org\/wp-content\/uploads\/2024\/11\/Pinacoteca-Brera-Genga-Disputa-restauro-02-600x238-1-1536x609.jpg 1536w, https:\/\/pinacotecabrera.org\/wp-content\/uploads\/2024\/11\/Pinacoteca-Brera-Genga-Disputa-restauro-02-600x238-1.jpg 2017w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Left, Fig. 4, detail in diffuse and grazing visible light, IR reflectography, infrared false color and ultraviolet fluorescence.<br>Right top, fig. 5, microscope image of the blue background of the Virgin&#8217;s mantle; bottom, fig. 6, stratigraphic section of the blue background of the Virgin&#8217;s mantle<br><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>Particularly interesting is the result obtained with the technique of infrared reflectography (IRR 1000-1700), which makes visible important aspects of the artist&#8217;s painting process, such as the drawing underneath the pictorial layers performed to set up the composition. The very high-resolution IRR image has been reproduced in full size and and can be seen next to the work being restored.<br>The composition of the Dispute was initially studied on a large preparatory cartoon, now lost. Later the image was brought back to the surface of the panel using the dusting technique.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:20%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:80%\">\n<figure class=\"wp-block-image aligncenter size-full size-medium wp-image-19523\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"832\" src=\"https:\/\/pinacotecabrera.org\/wp-content\/uploads\/2024\/11\/Pinacoteca-Brera-Genga-Disputa-restauro-03-1024x832-1.jpg\" alt=\"detail of the Virgin and Child in visible light and in IRR\" class=\"wp-image-9028\" srcset=\"https:\/\/pinacotecabrera.org\/wp-content\/uploads\/2024\/11\/Pinacoteca-Brera-Genga-Disputa-restauro-03-1024x832-1.jpg 1024w, https:\/\/pinacotecabrera.org\/wp-content\/uploads\/2024\/11\/Pinacoteca-Brera-Genga-Disputa-restauro-03-1024x832-1-300x244.jpg 300w, https:\/\/pinacotecabrera.org\/wp-content\/uploads\/2024\/11\/Pinacoteca-Brera-Genga-Disputa-restauro-03-1024x832-1-768x624.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Left, fig. 7, detail of the Virgin and Child in visible light and in IRR; right, fig. 8, detail in IRR<br><\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>Thanks to IR reflectography, it is possible to reconstruct exactly the tracing reported by the cartoon on the plaster preparation of the panel, since both the dots of the dusting and the drawing made to connect them are perfectly legible: a thin and precise stroke that goes over the dots and joins them in a continuous line, accurately describing the folds of the robes, the expressive lines of the faces and every detail of the hair.<\/p>\n\n\n\n<p>The intervention began with the restoration of problems in the wooden support, which caused cracks and small color falls, and continued with the restoration of the pictorial surface.<\/p>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:20%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:80%\">\n<figure class=\"wp-block-image aligncenter size-full size-medium wp-image-19525\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"395\" src=\"https:\/\/pinacotecabrera.org\/wp-content\/uploads\/2024\/11\/Pinacoteca-Brera-Genga-Disputa-restauro-04-1024x395-1.jpg\" alt=\"total of the verso of the painting\" class=\"wp-image-9031\" srcset=\"https:\/\/pinacotecabrera.org\/wp-content\/uploads\/2024\/11\/Pinacoteca-Brera-Genga-Disputa-restauro-04-1024x395-1.jpg 1024w, https:\/\/pinacotecabrera.org\/wp-content\/uploads\/2024\/11\/Pinacoteca-Brera-Genga-Disputa-restauro-04-1024x395-1-300x116.jpg 300w, https:\/\/pinacotecabrera.org\/wp-content\/uploads\/2024\/11\/Pinacoteca-Brera-Genga-Disputa-restauro-04-1024x395-1-768x296.jpg 768w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Left, fig. 9, total of the verso of the painting; right, fig. 10, during the intervention on the support<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p>The restoration is made possible through the generous support of the Andreotti &amp; Brusone Philanthropy Fund.<br>Diagnostic investigations were carried out by: Brera Art Gallery Restoration Laboratory (IRR 1000-1700 nm, IRFC, digital microscope); DIART Laboratory, Dept. of Physics, University of Milan (VIS, UVF, NIR 950-1000 nm, IRFC, FORS, XRF); Archaeometry Laboratory, UniMib Department of Materials Science (XRF, Raman Spectroscopy); CSG Palladio S.r.l. (microstratigraphic analysis); Haltadefinizione (very high definition).<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"featured_media":0,"template":"","class_list":["post-17551","restauro","type-restauro","status-publish","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v26.5 (Yoast SEO v26.5) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Disputation over the Immaculate Conception | Pinacoteca di Brera<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pinacotecabrera.org\/en\/collezioni\/conservazione-e-restauro\/disputation-over-the-immaculate-conception\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Disputation over the Immaculate Conception\" \/>\n<meta property=\"og:description\" content=\"Girolamo Genga (Urbino, 1476-1551) worked between Urbino, Siena, Florence, Romagna, Rome and Pesaro. 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Trained in Perugia with Signorelli and Perugino, he then reworked the influences of Pinturicchio, Sodoma, Fra&#8217; Bartolomeo, Raphael and Michelangelo in an anticlassical way. 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