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Roberto Bellucci
roberto.bellucci@gmail.com
Activity information
Curriculum
He holds a Diploma in Art from 1986. He was a conservator officer at the Opificio delle Pietre Dure and Conservation Laboratories in Florence from 1974 to 2017, and was a member of the OPD Scientific Council. He is an honorary academician of the Accademia delle Arti del Disegno.
During his career at the Opificio he directed many important restoration projects, among which the following are particularly notable: Raphael, *Portrait of Agnolo Doni* (Florence, Uffizi Galleries), 1984; Sandro Botticelli, *Coronation of the Virgin* (Florence, Uffizi Galleries), 1990; painted cross by Master Guglielmo (Cathedral of Sarzana), 1998; Masolino, *Stories of Saint Julian* (Montauban, France, Musée Ingres), 2001; Fra Angelico, *Thebaid* (Budapest, Szépművészeti Múzeum), 2001; Gentile da Fabriano, *Intercession Polyptych* (Florence, Church of San Niccolò Oltrarno), 2006; 12th-century painted cross (Monastery of Santa Maria Annunziata at Rosano, Florence), 2007; Giovanni Bellini, *Crucifixion* (formerly Cariprato collection, now Banca Intesa, Prato), 2007; Antonello da Messina, *Portrait of a Man*, known as the Trivulzio Portrait (Turin, Museo di Palazzo Madama), 2010; Giorgio Vasari, *Last Supper* (Museo dell’Opera di Santa Croce, Florence), 2016; Leonardo da Vinci, *Adoration of the Magi* (Uffizi Galleries, Florence), 2017.
He is the author of more than 1,550 scholarly publications on conservation and artistic techniques.
For the Opificio delle Pietre Dure he has conducted research on the technique of Botticelli; the painters of the Studiolo di Belfiore; Piero della Francesca; Masaccio and Masolino; Fra Carnevale; Gentile da Fabriano; Giovanni da Milano; and Sassetta (contributing to the volume of international studies *The Borgo Sansepolcro Altarpiece*, Harvard University Center for Italian Renaissance, 2009); as well as on Caravaggio’s underdrawing technique and Leonardo da Vinci’s technique. He is in particular one of the principal authors of the volume *Masolino and Masaccio Panel Paintings. The Role of Technique*, presenting a comprehensive study of the two artists’ technique, funded by the Kress Foundation (2002).
He was a member of the National Committees for the commemorations of Masaccio, Gentile da Fabriano and Sebastiano del Piombo, and a member of the scientific committee for the restoration of Leonardo da Vinci’s *Belle Ferronnière* at the Musée du Louvre. An associate of the INFN (National Institute of Nuclear Physics) and the INO-CNR (National Institute of Optics), he works on the integration of art-historical and technical studies with data derived from scientific investigations. He was the scientific and technical coordinator of the Tuscany Region’s TEMART project (Technologies and Materials for Cultural Heritage) and the European project IPERION-CH on science applied to cultural heritage.
He has delivered lectures on diagnostic investigations of works of art, artistic techniques and conservation at numerous specialist cultural institutions internationally, including the Kunsthistorisches Institut in Florenz, the Courtauld Institute in London, the Yale University Art Gallery, the National Gallery in London, the Musée du Louvre and the University of Buenos Aires. His work in diagnostics, conservation, teaching and collaboration continues within the OPD, supported by funding from the Fondazione Cassa di Risparmio di Firenze.