Project team:

Museum: Scuderie del Quirinale
Curator: Giovanni Villa
Architects: Emilio Alberti, Mauro Zocchetta
Lighting design: Consuline, Francesco Iannone, FPLDA, Serena Tellini, PLDA


Products applied:

168 custom designed LED solutions that allowed specific parts of the spectrum to be suppressed
using lighting controls, Targetti.

05. Oct 2011

Lighting art in 3D
Lorenzo Lotto’s exhibition in Rome changes the philosophy on how to light art

Text: Joachim Ritter
Photos: Alfredo Cacciani

The current opinion on good art lighting is that is should be as uniform and two-dimensional as possible. Lighting manufacturers have perfected their technology to achieve just this. Any well-known company’s catalogue lists countless examples of “good and uniform” lighting. This is what manufacturers promote as high-quality lighting products. The new lighting philosophy developed by Consuline treads new paths that not only challenge existing approaches, but make them appear old-fashioned and, quite literally, two-dimensional. And it is only now that the observer realises that the existing ‘design approach’ is nothing more than two-dimensional lighting. Nobody ever questioned this, since it seems close to reality: great masterpieces are, ultimately, two-dimensional. The time has come, however, to use the new knowledge we have gained in these modern times and question the validity of such two-dimensional lighting solutions. Is it not true that film has also been two-dimensional to date and are we now attempting to overcome this by applying new technology (3-D) and hardware (glasses)? We are at least trying to “trick” our brains into perceiving a three-dimensional world. We live in a perceptual world. This is the prime basis for all lighting design. So what would it mean if Serena Tellini and Francesco Iannone from Consuline had found a way of allowing our brain to perceive Renaissance paintings with a three-dimensional touch? For the lighting industry this would indeed be as momentous as the introduction of 3-D cinema or 3-D television. It would provide us with the opportunity to perceive art differently, the way the artist himself would have perceived the scene he depicted. Lighting designers would be given the task of lighting the emotions and pictures the artist was visualising when applying his brush to the canvas. Art thus gains a new component – it becomes more alive, more vibrant. To be frank, the lighting of Lorenzo Lotto’s exhibition in Rome is the beginning of a new quality of lighting. […]

The full version of the article can be found in PLD No. 78.

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