The conservator's eye: Taddeo Gaddi, Saint Julian발음듣기
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The conservator's eye: Taddeo Gaddi, Saint Julian
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(piano jazz music)[Narrator] We're up on the second floor of the Metropolitan Museum of Art looking at a small panel painting by an Italian artist who's name is Gaddi one of the most prolific students of Giotto.발음듣기
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[Narrator] In southern Europe we have a tradition dating back all the way to the middle ages of painting in egg.발음듣기
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[Narrator] These artists are very concerned with binding pigment, all of these colored powders etcetera.발음듣기
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Many of them mineral binding those colors to the wood panel the support that these works are often painted on in a way that's gonna be durable.발음듣기
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[Narrator] These paintings are coming out of a very highly refined tradition of painting guilds.발음듣기
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The way this would work is that as an apprentice you would train for often seven years under a master understanding not only how to paint beautifully.발음듣기
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But how to make sure that your painting lasts for as long as possible with no visible change.발음듣기
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[Narrator] It's painted on poplar wood a rather soft wood, it's one that warps a lot over time.발음듣기
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[Narrator] In fact, it probably would have done so even more before it was restored in the 19th century.발음듣기
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A lot of these paintings have been planed down from the reverse and mounted onto a cradle, a rigid wooden structure in the back that doesn't allow it to flex naturally.발음듣기
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We tend to think that deforestation is a very contemporary problem but the hardwoods of Italy were already deforested by the early and middle Renaissance so this is why they're painting on poplar.발음듣기
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It's pretty clear that the lovely gothic arch that the Saint is surrounded by would have ended with its point.발음듣기
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[Narrator] Almost all of the Renaissance paintings that you'll find in museums around the world are only small fragments of what would've been very large alter pieces.발음듣기
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A non-heated, non-cooled environment super humid and super dry depending on times of the year.발음듣기
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[Narrator] Because the wood itself is expanding and contracting and presumably there's the potential that the paint itself could loosen.발음듣기
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[Narrator] What these artists and artisans would do is use rabbit skin glue made from the skin of rabbits that's a size material.발음듣기
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In other words, it's a sealant of that wood and it limits the ability of that wood to absorb moisture.발음듣기
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[Narrator] The gesso or the ground or the priming of the painting is actually a mixture of rabbit skin glue again and then some gypsum, calcium sulfate some white powder in other words.발음듣기
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This is an absorbent material which is now going to receive the egg tempera paint and also in areas under the gold a material called bole, a kind of clay.발음듣기
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It's often reddish in color, it is in this painting and that clay is again mixed with rabbit skin glue.발음듣기
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So if there's a whole lot of glue all throughout the layer structure of this painting it's part of the reason why it's so durable.발음듣기
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[Narrator] Egg tempera dries quite rapidly and is very difficult to work wet in wet like you can with oil, brushing wet paint into wet paint that's already on your panel.발음듣기
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Here this is much more like a drawing technique because you have all these individual, crisp little lines.발음듣기
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The face here is incredibly well preserved and we see all of these beautiful they almost look like pencil lines.발음듣기
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And really that's the tip of the brush we can imagine how painstaking this process is to be able to make this degree of modeling and illusionism essentially with pencil lines.발음듣기
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[Narrator] But while the face is really well preserved the red garment seems to be kind of flat.발음듣기
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[Narrator] Remember that these were in churches for hundreds of years and they were cleaned by, not conservators but monks and nuns.발음듣기
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You know the candle soot and the grime that would collect on these paintings had to be removed with very strong materials urine and lye believe it or not.발음듣기
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[Narrator] It's a little misleading to call this a painting because only about 50% of the surface is actually paint.발음듣기
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The message here is yes, it is expensive it's luxurious, it's appropriate for a religious painting but deeply embedded in that meaning is also the fact that this is timeless, it doesn't corrode.발음듣기
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[Narrator] The gold leaf which is actual gold that has been hammered very thin then applied and burnished.발음듣기
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A smooth object is rubbed over it and what we're seeing here is just a faint trace of the original gleam that the gold would have had.발음듣기
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The bowl is moistened slightly and that's all the adhesion necessary for this incredibly thin sheet of gold.발음듣기
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Now after the gold is applied there is small metal tools which make all of these beautiful little indentations.발음듣기
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Again, we're not supposed to be at the MET we're supposed to be on our knees in candlelight and that light is flickering and refracting off of all those little nooks and crannies.발음듣기
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And even though we know there's just a tiny thickness of gold leaf there these craftsmen were so good that they provided the illusion of solid gold.발음듣기
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[Narrator] So this is really an art of illusion trying to produce an object costly because of its labor that looked like it was costly because of its material.발음듣기
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[Narrator] In the early Renaissance we have this great paradox that on the one hand where does this scene take place?발음듣기
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In a world of gold, perhaps that's heaven but at the same time, this figure is painted quite illusionistically.발음듣기
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[Narrator] And this artists was the student of Giotto who is credited with dramatically furthering the idea that he could represent figures that looked as if they were in a world that we recognize that they had mass and volume, that they cast shadow.발음듣기
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[Narrator] We have one foot in the Middle Ages this world of gold, but we have another foot defiantly here on earth.발음듣기
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