Conserving Everhard Jabach and His Family

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Conserving Everhard Jabach and His Family발음듣기

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When the painting came into the studio I was aware it was going to be time consuming but perhaps not the ten months it has taken.발음듣기

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The cleaning, relatively speaking, was straightforward but the structural work wasn't.발음듣기

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I didn't really know how the journey was going to progress in terms of the challenges of conservation and the solutions and the compromises.발음듣기

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This varnish is probably at least 100 years old very thickly applied so it's discolored very, very strongly indeed.발음듣기

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What always tends to happen is the varnish takes a little while to swell and then it sort of lifts away very cleanly from a paint surface like this.발음듣기

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Taking a really, really discolored varnish off a superbly preserved paint film is really satisfying.발음듣기

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Now the cleaning is finished the next step is to deal with the structural issues.발음듣기

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When the painting was turned over a smaller stretcher the beginning of the 20th century it caused obviously a rupture in the paint film.발음듣기

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The bigger problem in a sense was almost caused when it was turned back expediently in 2012, resulting in a lot of distortion and that distortion basically bisected the picture.발음듣기

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The painting is a rather stiff structure and so the issue was to carefully take out that distortion to bring the whole support back into plane.발음듣기

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Once it was off the stretcher and the strip lining had been removed and the excess wax had been removed my time was taken with the structural intervention.발음듣기

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Moisture, pressure, heat is the classic trio for dealing with canvas distortions.발음듣기

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The painting is just over 11 feet.발음듣기

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There's roughly about ten sections of doing this.발음듣기

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I leave it overnight each time and I may have to repeat it in places.발음듣기

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And then the roller will come into play.발음듣기

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The tube will be used to roll up the entire painting so that it can be turned over so that the face is visible.발음듣기

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And I can work on it from the front.발음듣기

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On the whole, I'm very, very happy with it.발음듣기

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The picture is in plane.발음듣기

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I think when you see it now you see the sweep of the composition.발음듣기

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Your eye isn't interrupted by that unfortunate severe distortion at the top of the canvas where it had been turned back and part of the picture's history.발음듣기

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The next step's the actual stretching process.발음듣기

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I've attached already a new strip lining which will facilitate that.발음듣기

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Varnish in this period of painting the main role is optical and in order to get the full tonal value of the colors and tones, you need a saturating varnish.발음듣기

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Where it's cleaned and is without varnish at the moment it's rather matte and desaturated so a final stage in the treatment will be to apply varnish.발음듣기

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Essentially, the picture is in wonderful condition but there's obviously retouching needed along the break.발음듣기

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But there's also some little scratches and a few little losses in the painting--발음듣기

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time consuming but minor.발음듣기

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Conservation has reached the final stage at long last.발음듣기

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It always is a bit nerve-racking the spray varnish because it's a big mechanical process.발음듣기

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The amount of varnish going on is thin film.발음듣기

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That final phase enhances its elegance and the little bit extra saturation really allows all the spatial relationships that Le Brun has created to have their full impact.발음듣기

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Framed now and about to hang on the wall.발음듣기

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This is the first time any of us have been able to see it in the galleries and to think back to what was always a very impressive painting.발음듣기

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But was affected very badly by the varnish by the previous structural issues it had to now see it join the collection in its full glory is truly marvelous.발음듣기

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And it's exciting to think that this painting will now have an audience and it's the first time on public display for centuries.발음듣기

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