It’s not fake, but ‘tarted up’!

It’s not to often that a conservation treatment reveals a much less appealing person beneath! Usually previous restoration campaigns are unrefined and blatantly obvious, and the final conservation treatment is a beauty to reveal. While the above painting’s restoration (right) was quite sweet, the original (left) is much harsher - but accurate to the time it was created. A 130 years ago British restorer, Francis Leedham, transferred the original portrait  from its panel support to a canvas support and heavily overpainted the surface to create a more sellable product.

To read more about the recent conservation of this portrait of Isabella de Medici - attributed to a follower of Alessandro Allori, in 1574 - at the Carnegie Museum of Art, here: http://www.theartnewspaper.com/articles/Not-fake-but-tarted-up/32874

hyperosmia

themindofaconservator:

Artist’s Palettes and Paint Boxes Continued…

Following on from my previous post. Here are some more artist’s palettes and paint boxes.

1. Turner (source)

2. Cezanne (source)

3. Vertes (source)

4. Chagall (source)

5. Balthus (source)

6. Anon. 19th Century French (same style as Gaugin’s) (source)

7. Anon. 19th-20th Century Dutch. (source)

8. Anon. 19th Century (source)

9. Roberts (source)

10. MacDonald (source)

Examination and analysis of  securely provenance primary source material such as artist’s palettes and paint boxes, allows for a wider understanding of the artists materials and techniques, and can be used to assist in provenance studies. As connoisseurship is only part of the art authentication pathway.