TEDGlobal 2012
Maurizio Seracini: The secret lives of paintings
Maurizio Seracini: Tajný život malieb
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Dejiny umenia nie sú vôbec uzavreté. Inžinier Maurizio Seracini 30 rokov hľadal stratenú fresku Leonarda da Vinciho „Bitka pri Anghiari" a počas toho pátrania zistil, že za mnohými maľbami sa skrývajú ďalšie vrstvy histórie. Mali by sa tiež stať súčasťou nášho vnímania týchto diel?
Maurizio Seracini - Art diagnostician
Maurizio Seracini uses advanced tools common in engineering and medical labs to unravel centuries-old mysteries of art. Full bio
Maurizio Seracini uses advanced tools common in engineering and medical labs to unravel centuries-old mysteries of art. Full bio
Double-click the English transcript below to play the video.
00:16
In 1975, I met in Florence a professor, Carlo Pedretti,
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V roku 1975 som vo Florencii spoznal Carla Pedrettiho,
00:20
my former professor of art history, and today
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svojho vtedajšieho profesora dejín umenia,
00:24
a world-renowned scholar of Leonardo da Vinci.
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dnes celosvetovo uznávaného odborníka
na Leonarda da Vinciho.
na Leonarda da Vinciho.
00:28
Well, he asked me if I could find some technological way
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Spýtal sa ma, či by som dokázal
prostredníctvom technológie
prostredníctvom technológie
00:32
to unfold a five-centuries-old mystery related to
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odhaliť päťstoročné tajomstvo
00:36
a lost masterpiece by Leonardo da Vinci,
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strateného diela Leonarda da Vinciho,
00:39
the "Battle of Anghiari," which is supposed to be located
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fresky „Bitka pri Anghiari", ktorá by sa mala nachádzať
00:41
in the Hall of the 500 in Palazzo Vecchio, in Florence.
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v Sále 500 v Palazzo Vecchio vo Florencii.
00:44
Well, in the mid-'70s, there were not great opportunities
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Viete, v polovici 70. rokov v Taliansku nečakali
00:47
for a bioengineer like me, especially in Italy, and so
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na bioinžiera, ako som bol ja, žiadne veľké príležitosti,
00:51
I decided, with some researchers from the United States
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a tak sme sa spolu s ďalšími výskumníkmi
zo Spojených štátov
zo Spojených štátov
00:55
and the University of Florence, to start probing the murals
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a z Univerzity vo Florencii rozhodli začať so skúmaním
00:59
decorated by Vasari on the long walls of the Hall of the 500
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Vasariho fresiek na dlhých stenách Sály 500
01:03
searching for the lost Leonardo.
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a pátrali sme po stratenom Leonardovi.
01:06
Unfortunately, at that time we did not know that
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Nanešťastie, vtedy sme nevedeli,
01:09
that was not exactly where we should be looking,
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že nehľadáme na úplne správnom mieste,
01:14
because we had to go much deeper in, and so the research
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museli by sme pátrať omnoho hlbšie, a tak
01:18
came to a halt, and it was only taken up in 2000
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bol výskum pozastavený a obnovený až v roku 2000
01:22
thanks to the interest and the enthusiasm of the Guinness family.
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vďaka záujmu a nadšeniu rodiny Guinnessovcov.
01:27
Well, this time, we focused on trying to reconstruct
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Tentokrát sme sa teda pokúsili zrekonštruovať
01:30
the way the Hall of the 500 was before the remodeling,
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vzhľad Sály 500 pred jej prestavbou,
01:33
and the so-called Sala Grande, which was built in 1494,
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takzvanú Sala Grande postavenú v roku 1494,
01:36
and to find out the original doors, windows,
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hľadali sme pôvodné dvere a okná.
01:39
and in order to do that, we first created a 3D model,
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A aby sme to dosiahli, vytvorili sme 3D model
01:44
and then, with thermography, we went on to discover
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a použitím termografie sme dokázali objaviť
01:47
hidden windows. These are the original windows of the hall
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skryté okná. Toto sú pôvodné okná siene
01:50
of the Sala Grande. We also found out about the height
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Sala Grande. Získali sme tiež údaje o výške stropu,
01:54
of the ceiling, and we managed to reconstruct, therefore,
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a tak sa nám podarilo zrekonštruovať
01:57
all the layout of this original hall
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rozvrhnutie pôvodnej sály
02:00
the way it was before there came Vasari,
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z čias pred príchodom Vasariho,
02:03
and restructured the whole thing,
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ktorý ju celú prestaval,
02:06
including a staircase that was very important
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vrátane schodiska, ktoré bolo veľmi dôležité
02:09
in order to precisely place "The Battle of Anghiari"
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pre presné umiestnenie „Bitky pri Anghiari"
02:14
on a specific area of one of the two walls.
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na konkrétne miesto v sále.
02:18
Well, we also learned that Vasari, who was commissioned
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Zistili sme tiež, že Vasari,
02:21
to remodel the Hall of the 500 between 1560 and 1574
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ktorý mal Sálu 500 prestavať medzi rokmi 1560 až 1574
02:26
by the Grand Duke Cosimo I of the Medici family,
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na príkaz vojvodu Cosima I. z rodu Medici,
02:30
we have at least two instances when he saved masterpieces
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minimálne v dvoch prípadoch zachránil majstrovské diela
02:33
specifically by placing a brick wall in front of it
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tým, že pred ne postavil tehlovú stenu,
02:37
and leaving a small air gap.
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a vytvoril tak malú vzduchovú medzeru.
02:39
One that we [see] here, Masaccio, the church of Santa Maria Novella in Florence,
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Príkladom je dielo Masaccia v kostole Santa Maria Novella vo Florencii.
02:43
so we just said, well maybe, Visari has done something
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Napadlo nám, že Vasari možno spravil
02:46
like that in the case of this great work of art by Leonardo,
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niečo podobné i v prípade Leonardovej fresky,
02:49
since he was a great admirer of Leonardo da Vinci.
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keďže bol da Vinciho veľkým obdivovateľom.
02:52
And so we built some very sophisticated radio antennas
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A tak sme zhotovili sofistikované sondy,
02:56
just for probing both walls and searching for an air gap.
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aby sme preskúmali obe steny a našli vzduchové medzery.
03:01
And we did find many on the right panel of the east wall,
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Podarilo sa nám objaviť viacero vzduchových medzier
03:06
an air gap, and that's where
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v pravej časti východnej steny,
03:09
we believe "The Battle of Anghiari,"
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kde by sa „Bitka pri Anghiari",
03:10
or at least the part that we know has been painted,
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alebo aspoň jej zhotovená časť menom
03:12
which is called "The Fight for the Standard," should be located.
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„Bitka pri Standarde", mala nachádzať.
03:16
Well, from there, unfortunately,
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Tu sa ale, nanešťastie,
03:19
in 2004, the project
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projekt v roku 2004 pozastavil.
03:22
came to a halt. Many political reasons.
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Z viacerých politických dôvodov.
03:25
So I decided to go back to my alma mater,
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Rozhodol som sa vrátiť na svoju alma mater,
03:27
and, at the University of California, San Diego,
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Kalifornskú univerzitu v San Diegu,
03:30
and I proposed to open up a research center
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a navrhol som zriadenie výskumného centra
03:32
for engineering sciences for cultural heritage.
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technických vied pre kultúrne dedičstvo.
03:35
And in 2007, we created CISA3 as a research center
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V roku 2007 sme zriadili CISA3, výskumné centrum
03:40
for cultural heritage, specifically art, architecture
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pre kultúrne dedičstvo, konkrétne pre umenie, architektúru
03:43
and archaeology. So students started to flow in,
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a archeológiu. Začali prichádzať študenti
03:45
and we started to build technologies, because that's
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a začali sme vytvárať technológie, pretože
03:47
basically what we also needed in order to move forward
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práve to sme tiež potrebovali, aby sme mohli pokročiť
03:50
and go and do fieldwork.
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a vyraziť pracovať do terénu.
03:53
We came back in the Hall of the 500 in 2011,
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Do Sály 500 sme sa vrátili v roku 2011.
03:57
and this time, with a great group of students,
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Tento raz s veľkou skupinou študentov
04:01
and my colleague, Professor Falko Kuester,
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a mojím kolegom, profesorom Falkom Kuesterom,
04:03
who is now the director at CISA3, and we
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ktorý riadi CISA3.
04:06
came back just since we knew already where to look for
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A keďže sme už vedeli, kde hľadať,
04:10
to find out if there was still something left.
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vrátili sme sa skúmať, či nenájdeme viac.
04:13
Well, we were confined though, limited, I should rather say,
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Boli sme však spútaní, alebo skôr obmedzovaní,
04:17
for several reasons that it's not worth explaining,
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hneď z niekoľkých dôvodov, ktoré nehodno vysvetľovať,
04:20
to endoscopy only, of the many other options we had,
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a mohli sme použiť iba endoskopiu.
04:24
and with a 4mm camera attached to it,
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S pomocou štvormilimetrovej kamery
04:28
we were successful in documenting and taking
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sme dokázali zdokumentovať a získať
04:33
some fragments of what it turns out to be
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niekoľko fragmentov červenkastej a čiernej
04:37
a reddish color, black color, and there is some
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farby a tiež zopár béžových kúskov,
04:41
beige fragments that later on
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ktoré sme neskôr podrobili
04:44
we ran a much more sophisticated exams,
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ďalšiemu zložitému skúmaniu,
04:47
XRF, X-ray diffraction, and the results are very positive
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röntgenovej fluorescencii a disfrakcii. Obdržali sme
04:53
so far. It seems to indicate that indeed
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veľmi priaznivé výsledky, ktoré naznačujú,
04:55
we have found some pigments, and since we know for sure
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že sme naozaj našli kúsky farbiva,
04:58
that no other artist has painted on that wall
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a keďže vieme, že na tieto steny pred Vasarim,
05:01
before Vasari came in about 60 years later, well,
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ktorý prišiel o asi 60 rokov neskôr, nikto iný nemaľoval,
05:04
those pigments are therefore firmly related to mural painting
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toto farbivo teda súvisí s freskou,
05:07
and most likely to Leonardo.
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pravdepodobne Leonardovou.
05:10
Well, we are searching for the highest and highly praised
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Pátrame vlastne po najvyššom a najviac ospevovanom
05:15
work of art ever achieved by mankind.
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umeleckom diele ľudskej histórie.
05:18
As a matter of fact, this is by far the most important
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Faktom je, že táto zákazka bola tou najdôležitejšou,
05:21
commission that Leonardo has ever had,
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akú kedy Leonardo dostal
05:24
and for doing this great masterpiece, he was named
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a vďaka jej prevedeniu sa stal
05:28
the number one artist influence at the time.
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najvplyvnejším umelcom svojej doby.
05:33
I had also had the privilege since the last 37 years
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Počas posledných 37mich rokov som mal šancu
05:37
to work on several masterpieces as you can see behind me,
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pracovať na niekoľkých majstrovských kúskoch,
ktoré môžete vidieť za mnou.
ktoré môžete vidieť za mnou.
05:40
but basically to do what? Well, to assess, for example,
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Mojou úlohou bolo napríklad posúdiť
05:44
the state of conservation. See here the face of the
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stav ich zachovania. Pozrite sa na tvár
05:46
Madonna of the Chair that when just shining a UV light on it
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Raffaelovej Madonny. Keď na ňu posvietite UV svetlom,
05:51
you suddenly see another, different lady,
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odrazu uvidíte ďalšiu dámu,
05:54
aged lady, I should rather say.
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postaršiu pani, povedal by som.
05:56
There is a lot of varnish still sitting there, several retouches,
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Stále je tam veľká vrstva laku, zopár premaľovaní
05:59
and some over cleaning. It becomes very visible.
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a prečistení a je to očividné.
06:02
But also, technology has helped to write new pages
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Ale technológia nám tiež pomohla pripísať do našich dejín
06:06
of our history, or at least to update pages of our histories.
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nové stránky alebo ich aspoň doplniť.
06:09
For example, the "Lady with the Unicorn,"
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Napríklad „Dáma s jednorožcom",
06:11
another painting by Rafael, well, you see the unicorn.
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ďalšia Raffaelova maľba. Všimnite si toho jednorožca.
06:14
A lot has been said and written about the unicorn, but
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Veľa sa už o ňom povedalo aj napísalo,
06:16
if you take an X-ray of the unicorn, it becomes a puppy dog.
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no pri röntgenovom snímku sa z neho stáva šteňa.
06:20
And — (Laughter) — no problem, but, unfortunately,
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A ... (smiech), ale, nanešťastie,
06:24
continuing with the scientific examination of this painting
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pri ďalšom vedeckom skúmaní tejto maľby
06:27
came out that Rafael did not paint the unicorn,
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sa zistilo, že Raffael nenamaľoval jednorožca,
06:30
did not paint the puppy dog, actually left the painting
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ani šteňa, ale v skutočnosti maľbu nedokončil,
06:33
unfinished, so all this writing about the exotic symbol
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takže všetko to, čo sa popísalo o exotickej
06:37
of the unicorn — (Laughter) — unfortunately,
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symbolike jednorožca, (smiech), nanešťastie
06:40
is not very reliable. (Laughter)
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nie je hodnoverné. (smiech)
06:43
Well, also, authenticity. Just think for a moment
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Potom tu máme pravosť. Predstavte si,
06:46
if science really could move in the field of authenticity
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že by sa veda naozaj využívala v oblasti pravosti
06:50
of works of art. There would be a cultural revolution
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umeleckých diel. Prinieslo by to, prinajmenšom,
06:53
to say the least, but also, I would say, a market revolution,
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kultúrnu revolúciu, ale tiež si dovolím tvrdiť,
06:57
let me add. Take this example:
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že aj revolúciu na trhu. Tak napríklad:
06:59
Otto Marseus, nice painting, which is "Still Life"
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Otto Marseus, krásna maľba menom „Still Life" (Zátišie)
07:03
at the Pitti Gallery, and just have an infrared camera peering through,
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v Galérii Pitti, ktorá bola preskúmaná
infračervenou kamerou
infračervenou kamerou
07:07
and luckily for art historians, it just was confirmed
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a našťastie pre historikov umenia sa potvrdilo,
07:10
that there is a signature of Otto Marseus. It even says
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že sa na nej nachádza Marseov podpis.
07:13
when it was made and also the location.
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Nachádza sa tam tiež dátum a miesto.
07:16
So that was a good result. Sometimes, it's not that good,
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To bol teda dobrý výsledok. Niekedy však taký nebýva.
07:20
and so, again, authenticity and science could go together
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Overovanie pravosti a veda sa teda môžu skĺbiť
07:26
and change the way, not attributions being made,
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a zmeniť nie spôsob akým sa diela posudzujú,
07:30
but at least lay the ground for a more objective,
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ale aspoň vytvoriť základ pre objektívnejšie
07:34
or, I should rather say, less subjective attribution,
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alebo, lepšie povedané, menej subjektívne posudzovanie
07:37
as it is done today.
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než je dnes zvykom.
07:40
But I would say the discovery that really caught
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No tým objavom, ktorý naozaj zasiahol
07:44
my imagination, my admiration, is the incredibly vivid
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moju predstavivosť a pritiahol môj obdiv
07:48
drawing under this layer, brown layer,
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je táto neskutočné živá kresba pod vrstvou hnedej
07:51
of "The Adoration of the Magi." Here you see
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na maľbe „Klaňanie sa mudrcov". Môžete vidieť
07:55
a handmade setting XYZ scanner with an infrared camera put on it,
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ručne upravený 3D skener s infračervenou kamerou,
07:59
and just peering through this brown layer
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ktorý do hĺbky skúmal oblasť
08:02
of this masterpiece to reveal
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pod hnedou vrstvou maľby
08:05
what could have been underneath.
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a odhalil, čo by sa tam mohlo skrývať.
08:08
Well, this happens to be the most important painting
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Práve toto je najdôležitejšia maľba
08:10
we have in Italy by Leonardo da Vinci, and
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Leonarda da Vinciho v rámci Talianska.
08:13
look at the wonderful images of faces that nobody has seen
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Pozrite na tie nádherné tváre, ktoré päť storočí
08:18
for five centuries. Look at these portraits.
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nikto nevidel. Pozrite sa na tieto portréty.
08:21
They're magnificent. You see Leonardo at work.
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Sú úchvatné. Vidíte Leonarda pri práci.
08:24
You see the geniality of his creation, right directly
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Vidíte genialitu jeho tvorby priamo na základnej
08:27
on the ground layer of the panel, and see
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vrstve panelu a pozrite
08:30
this cool thing, finding, I should rather say,
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na tento úžasný objav –
08:36
an elephant. (Laughter) Because of this elephant,
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slon. (Smiech) Vďaka nemu
08:39
over 70 new images came out, never seen for centuries.
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sa objavilo viac než 70 nových obrázkov.
08:43
This was an epiphany. We came to understand
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Bol to prelomový bod. Pochopili sme
08:47
and to prove that the brown coating that we see today
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a dokázali, že hnedé prekrytie, ktoré na maľbe
08:50
was not done by Leonardo da Vinci, which left us
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dnes vidíme, nebolo Leonardovou prácou,
08:53
only the other drawing that for five centuries
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on nám nechal iba kresbu, ktorú sme
08:56
we were not able to see, so thanks only to technology.
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päťsto rokov nevideli, až prostredníctvom technológie.
09:01
Well, the tablet. Well, we thought, well, if we all have
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Teraz k tabletom. Zamysleli sme sa nad výsadou,
09:05
this pleasure, this privilege to see all this,
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akej sa nám dostalo, keď sme toto všetko
09:08
to find all these discoveries, what about for everybody else?
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objavili a videli, ale čo ostatní?
09:11
So we thought of an augmented reality application
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Prišli sme teda s myšlienkou aplikácie pre tablety,
09:14
using a tablet. Let me show you just simulating
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ktorá zväčšuje skutočnosť. Ukážem vám simuláciu
09:19
what we could be doing, any of us could be doing,
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toho, čo by hocikto z nás mohol urobiť
09:22
in a museum environment.
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napríklad v múzeu.
09:24
So let's say that we go to a museum with a tablet, okay?
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Predstavme si teda, že ideme do múzea s tabletom.
09:29
And we just aim the camera of the tablet
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Namierime fotoaparát v tablete
09:32
to the painting that we are interested to see, like this.
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na maľbu, o ktorú sa zaujímame.
09:38
Okay? And I will just click on it, we pause,
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Iba tu na to kliknem, pozastavím to
09:44
and now let me turn to you so the moment the image,
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a otočím sa k vám, kým sa ten moment,
09:48
or, I should say, the camera, has locked in the painting,
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ktorý fotoaparát v maľbe zachytil,
09:52
then the images you just saw up there in the drawing
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alebo teda obrázky, ktoré ste pred chvíľou videli,
09:54
are being loaded. And so, see.
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načítajú. Aha.
09:58
We can, as we said, we can zoom in. Then we can scroll.
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Môžeme si to priblížiť, posúvať.
10:02
Okay? Let's go and find the elephant.
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Skúsme nájsť slona.
10:07
So all we need is one finger. Just wipe off
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Stačí jeden prst. Vymažeme hnedú
10:10
and we see the elephant. (Applause)
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a vidíme slona. (Potlesk)
10:15
(Applause)
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(Potlesk)
10:18
Okay? And then if we want,
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A ak chceme,
10:21
we can continue the scroll to find out, for example,
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môžeme sa posunúť ešte ďalej a zistiť,
10:24
on the staircase, the whole iconography is going
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napríklad, že pri schodisku sa celá ikonografia
10:28
to be changed. There are a lot of laymen reconstructing
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zmení. Ukazujú sa tu laici,
10:30
from the ruins of an old temple a new temple,
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ktorí z ruín starého chrámu budujú nový,
10:33
and there are a lot of figures showing up. See?
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zjavujú sa ďalšie postavy. Vidíte?
10:37
This is not just a curiosity, because it changes
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Nie je to len tak nejaká zvláštnosť,
10:40
not just the iconography as you see it, but the iconology,
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nemení sa iba to, čo vidíte, ale
10:43
the meaning of the painting,
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celkový význam maľby.
10:45
and we believe this is a cool way, easy way,
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Veríme, že toto je zábavný a jednoduchý spôsob,
10:48
that everybody could have access to, to become more
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ako všetkým sprístupniť možnosť aktívne
10:51
the protagonist of your own discovery, and not just
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sa zapojiť do takýchto objavov, aby sme neboli
10:54
be so passive about it, as we are when we walk through
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stále rovnako pasívni, ako keď kráčame
10:58
endless rooms of museums.
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nekonečnými miestnosťami múzeí.
11:02
(Applause)
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(Potlesk)
11:07
Another concept is the digital clinical chart, which sounds
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Ďalším z návrhov je digitálna zdravotná karta,
11:11
very obvious if we were to talk about real patients,
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čo by v prípade skutočných pacientov bolo úplne jasné,
11:13
but when we talk about works of art, unfortunately,
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no v oblasti umeleckých diel sa, nanešťastie,
11:16
it's never been tapped as an idea.
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s týmto nápadom ešte nikdy nepracovalo.
11:18
Well, we believe, again, that this should be the beginning,
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My veríme, že toto by mal byť
11:20
the very first step, to do real conservation,
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prvý krok na ceste za skutočným zachovávaním diel,
11:23
and allowing us to really explore and to understand
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ktorý nám pomôže naozaj preskúmať a pochopiť
11:26
everything related to the state of our conservation,
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všetko, čo je so stavom zachovania späté,
11:29
the technique, materials, and also if, when, and why
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techniku, materiály a tiež kedy, či a prečo
11:32
we should restore, or, rather, to intervene on
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by sme mali reštaurovať alebo skôr zasahovať
11:37
the environment surrounding the painting.
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do prostredia, ktoré maľbu obklopuje.
11:40
Well, our vision is to rediscover
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Našou víziou je znovu objaviť
11:44
the spirit of the Renaissance, create a new discipline
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ducha renesancie, vytvoriť novú disciplínu,
11:46
where engineering for cultural heritage is actually
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v ktorej sú technické vedy pre kultúrne dedičstvo
11:50
a symbol of blending art and science together.
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symbolom, ktorý spája vedu s umením.
11:53
We definitely need a new breed of engineers
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Jednoznačne potrebujeme nový typ inžinierov,
11:55
that will go out and do this kind of work and
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ktorí budú vykonávať túto prácu
11:58
rediscover for us these values, these cultural values
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a znovu objavia kultúrne hodnoty,
12:02
that we badly need, especially today.
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ktoré najmä v súčasnosti tak veľmi potrebujeme.
12:05
And if you want to summarize in one just single word,
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Ak by som to mal veľmi v krátkosti zhrnúť,
12:08
well, this is what we're trying to do.
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tak sa pokúšame o toto:
12:11
We're trying to give a future to our past
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Chceme dať budúcnosť našej minulosti,
12:14
in order to have a future.
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aby sme vôbec mali budúcnosť.
12:16
As long as we live a life of curiosity and passion,
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Pokiaľ žijeme život so záujmom a vášňou,
12:19
there is a bit of Leonardo in all of us. Thank you. (Applause)
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v každom z nás je kúsok Leonarda. Ďakujem.
12:23
(Applause)
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(Potlesk)
ABOUT THE SPEAKER
Maurizio Seracini - Art diagnosticianMaurizio Seracini uses advanced tools common in engineering and medical labs to unravel centuries-old mysteries of art.
Why you should listen
It’s surprising to hear of a former engineer and medical student who has dedicated his career to the analysis of more than 2,500 works of art. But Maurizio Seracini is not your typical art connoisseur. He uses technologies from both of his worlds, such as multispectral imaging, sonogram and x-ray, to peer through the layers of paintings and reveal their secrets.
Most famous is Seracini’s more-than-30-year quest to find Leonardo Da Vinci’s missing painting The Battle of Anghiari. Seracini suspects the piece is behind another giant fresco painted by Giorgio Vasari in the Sala dei Cinquecento in Florence, Italy. To find it, Seracini must find a way to look beneath Vasari’s masterpiece while keeping it intact.
Maurizio Seracini | Speaker | TED.com