A fresco painter and conservator who has worked on Florentine masterworks, Philip Kron Morelli is actively involved in international public and private research projects, and has worked on the conservation of cultural heritage works following natural disasters.
Philip Kron Morelli teaches Mural Conservation and Fresco Painting at SACI. He is actively involved in international research projects with public institutions (such as the Galleria Nazionale d’Arte Moderna in Rome) and private firms, most recently for the conservation treatment of the Sepulchre of Ramon Llull in Palma de Mallorca (Spain). Philip Kron Morelli’s main research interest is to deepen the knowledge of traditional materials and develop green and sustainable technologies dedicated to the preservation of cultural heritage. He has presented this research in several publications and conference papers.
He has also worked on the conservation of cultural heritage following natural disasters, with his first experience in this field as part of an Italian team of restorers hired by the Minas Avetisyan Foundation in 2012 to detach and restore two modern wall paintings in Northern Armenia, severely damaged by an earthquake. In 2017 and 2018, he collaborated with the Opificio delle Pietre Dure task force to secure artworks damaged during the 2016 earthquake that struck Central Italy – part of which was a group project later presented at the ICOMOS conference in 2018. Since 2012, he has worked on several conservation projects on Florentine masterworks by Mariotto di Nardo, Bernardino Poccetti, Antonio Rossellino and Benedetto da Maiano.
Philip Kron Morelli received a BA in conservation of wall paintings from the Istituto per L’arte e il Restauro Palazzo Spinelli in Florence. He continued his studies with a five-year course at the School of Higher Education of the Opificio delle Pietre Dure in Florence in the fields of wall painting, stone sculpture, and mosaic conservation.
I believe that being faced with different cultures requires a major effort that improves our capacity to understand our own culture, slowly developing our personal character through a lifelong process. In this sense my aim is to train students to approach the Italian art and restoration culture by comprehending techniques and concepts in order to stimulate their individual interests and let their curiosity direct their learning.