The procedure starts with experiment on format 9 x 12 positive colour film, carried out under controlled lighting conditions (between 5000 and 6000 °Kelvin, according to the original ). The high-definition files (300 DPI on the definitive printing size), were corrected through appropriate chromatic action according to the wanted results, using image editor software.
Finally, the works underwent opaquing and polishing treatments according to the need.
The peculiarity of the system lies in its ductility and in the possibility of obtaining with ease the set size proofs until reaching results, which are close to the original owing to the precision and high quality of plotter HP Designjet 5000 PS printing, used in conjunction with ICC colour profiles supplied by HP both for water-based inks (DYE) and for pigment inks (UV).

Below, some examples of paintings reproduced on canvas:

Francesco Guardi
Fantastic arch with human figures, about 1770
canvas, cm 26 x 39
Begamo, Accademia Carrara, n. 536

Typical "capriccio" of high quality and charm, constructed by inserting a large monumental arch ogival Gothic, but on a fully Renaissance structure, on the Chi oggi a quay, whose "minor" urban physiognomy is fully recognizable. The entire aspect is further enhanced by the characteristic "caricatures" of the populace and further away, by aristocrats in three-cornered hats and cloaks.

Neroccio Landi di Bartolomeo di Benedetto
Madonna with Child, 1470-1475
wood, cm 37 x 52
Bergamo, Accademia Carrara, n. 925

The work dates back to the year 1470. This Madonna and Child, with the preciosity of the work and the extremely delicate finish decorations in the golden background, like the iron clamps which couple the balustrade slabs, is typical of the Siena Art taste.

Vittore Giuseppe Ghislandi (Fra' Galgario)
Young painter, about 1732
canvas, cm 65 x 75
Bergamo, Accademia Carrara, n. 241

In the Carrara Collection catalogue, from which this painting has been taken, this canvas has been described as the portrait of one of Fra' Galgario' s young students, who worked with him in the Galgario Conv ent and died at the young age of 22. T he artist often used these models, both for general canvases as "character heads" and for real individualized portraits. The difference is quite visible in a painting such as this one, so immediate in its realism (also in the small Still Life pai nting of bread and apples), and at the same time, so vivid in its depiction of the freshness of youth of the urchin character.

Giovan Battista Moroni
Girl from the Redetti family,1566-1570
canvas, cm 33 x 43
Bergamo, Accademia Carrara, n. 656

This portrait, in which a girl of the Redetti household is identified, is among the most popular paintings exhibited at the Accademia Carrara, obviously due to its extremely pleasant subject. It represents one of the few children which an artist has managed to depict with its particular verity, innocence and freshness, nevertheless tinged with innocent vanity.

Bartolomeo Veneto
Madonna with Child,1505
wood, cm 38 x 47
Bergamo, Accademia Carrara, n. 723

The painting dates back to 1505. The theme is that of a Madonna and Child depicted with a particular display of affection and surrounded by the soft background of the Venetian countryside, a little village by the river dominated by the Castle, to which the detailed painting of the shepherd lends an Arcadian tone. The two small rabbits in the foreground are worthy of note. They symbolise fertility.

For futher art-historical comments about the Accademia Carrara Gallery paintings see:
Catalogo on line della Pinacoteca dell'Accademia Carrara
Art and Science project at the Accademia Carrara Gallery supported also the research:
High resolution infrared reflectography of ancient paintings



REPRODUCTION ON CANVAS OF ANCIENT PAINTINGS

PARTECIPANTS
- Raffaele Papa: Graphics Designer Project Manager.
- Paolo Guerini: Computer graphics operator.
Entities and persons involved in this project:
- Francesco Rossi: Director of the Pinacoteca dell'Accademia Carrara.

SUMMARY
The aim of this experiment is not a new one. It consists in reproducing on canvas copies of old master paintings kept in the civic Art galleries. The task is to obtain extremely high quality and chromatic hues which resemble as much as possible those of the original. There are, of course, art galleries which have reproductions of art works put at the disposal of visitors, but in most cases, these were reproductions on paper. It is however our firm conviction that the use of canvas, though causing some notable problems for a correct reproduction, will indeed induce feelings which are not unlike those that engulf one when viewing an original. For far too long one has thought that the reproduction of a work of art was some a kind of commercialization of the work of art itself. This concept has strangely enough never touched the publications trade, but merely and exclusively the reproduction of the pictorial type. We do not think it wrong to state that this feeling stems, quite rightly, from the fact that a publication's reproduction on paper is often of an extremely high level, whilst that on canvas or on board is often of a poorer quality. There is a flourishing market of hand-reproduced copies, but here, the belief that one is buying a product with high aesthetic value and at a considerable cost for such work completely the crux of the problem. One could come to the conclusion that our project would merely give the possibility t o any viewer of possessing at a relatively lesser cost a good reproduction of an art work which would fulfill his desire for daily pleasure and enjoyment of the art work, whilst detracting not hide from the pleasure of viewing an original work.

TIMETABLE & MILESTONES
- From February to April: photographic reproduction of a series of art works of different ages and techniques.
- From May to July: experiments on canvas or materials coupled to wooden boards.
- From September to October: definite reproduction of the art works and definition of printing standards.

BACKGROUND
The project intends showing that art galleries are able to put at the disposal of visitors some excellent copies of art works at a reasonable cost by obtaining the necessary assistance of qualified collaborators who, through their know-how, will handle on behalf of the art galleries all reproductions of art works chosen by the gallery visitors. To demonstrate the feasibility of this assertion, our graphic arts studio is considered a pilot unit .

ACTIVITY DESCRIPTION
The procedure which has been used after careful technical consideration, provides as a first phase, the photographic reproduction of single works on positive colour film and subsequently, the setting of a reproductive standard which considers the best possible light, the various types of material and their chromatic yield. Finally, the most delicate phase of the project . This consists in the reproduction on canvas of varying grains, consistence and weight as regards the type of the original to be reproduced, or on material backgrounds suitable for coupling in case of works of art on wooden boards. The difficulty is objectively tied as well to the requirement of having to use UV inks having chromatic characteristics which are different from those normal inks which are commonly used in lithographic reproductions. Last but not least , the subsequent printing treatments consist in varnishing and surface finish operations on the printed copy for longer-lasting results and better resemblance to the original.