Exhibitions

Why and How?

Dramatic rescue
The three works hung nearest to the entrance of the Knights Hall; which is why they avoided being burnt in contrast to the rest of the hall decorations. Some of the old damages in the canvases are likely to originate from the rapid evacuation of the paintings out of the burning castle in 1794.

Eksempel på en skade.

Example of damage. The paint has been lost around an old v-shaped tear in the canvas. The tear possibly occured during the hasty evacuation of the painting in 1794.

Disfigured paintings
When the works were included in the exhibition Nicolai Abildgaard. Revolution Embodied, the Gallery’s conservation staff noted the aesthetic short-comings of the paintings’ condition. Darkened restorations and yellowing varnish blighted the paintings, and several instances of old, unrestored damage to the pigments and canvases were quite obvious.

Facelift
During treatment, conservators will remove the discoloured varnish, repaired discoloured retouchings and reconstruct missing parts so they are not visible to the naked eye.

Technical studies
Concurrently, and as part of a larger research project on Abildgaard's use of materials and technology, conservators will also conduct a series of technical studies of the three works.

Detalje af maleriet efter fjernelse af en misfarvet restaurering, som har dækket en gammel flænge i lærredet.

Detail of the painting after removing a discolored restoration, which has covered an old tear in the canvas

Detail showing an old discolored restoration on the shoulders of the blue dress.

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Updated: 8.apr.2014
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