The Metropolitan Museum's world-famed collection of European paintings encompasses works of art from the thirteenth through the nineteenth centuries—from Giotto to Gauguin. Most, though not all, are displayed in the galleries of the Department of European Paintings. Others works of art can be found in the Lehman Collection, the Linsky Collection, The Cloisters, and in various period rooms.
Posted: Wednesday, January 28, 2015
Michael Gallagher applies the first layer of varnish to the surface of the Jabach portrait.
After the completion of cleaning and structural work on the Jabach portrait, the next step in its conservation is the application of a first layer of varnish. The varnish acts as an isolating layer between the original painting and the retouching—which will come later—but, most importantly, it begins the process of saturating the surface, which is so crucial to a painting of this period.
Posted: Friday, January 23, 2015
Conservators Michael Gallagher, George Bisacca, Alan Miller, and Jonathan Graindorge Lamour reattach the Jabach portrait to its stretcher in preparation for the final phases of conservation.
Just before the holidays, we reached a major milestone in the conservation of the Jabach portrait: the reattachment of the canvas to its stretcher. The short video above gives a good sense of the process undertaken with George Bisacca, Alan Miller, and Jonathan Graindorge Lamour. In all, it took about a couple of hours.
Posted: Wednesday, January 7, 2015
The Jabach portrait is now back on its stretcher, and Michael Gallagher is about to move on from the complex structural work that has occupied him these past few months to the final retouching and varnishing. In other words, we are in the home stretch.
Posted: Monday, December 22, 2014
After the severe distortions at the top of the Jabach portrait were successfully reduced, the next step was to prepare the painting for re-stretching. This involved the attachment of a new strip-lining; new pieces of canvas were adhered along all four edges of the reverse of the painting using a heat-activated adhesive. (It should be noted that these can be easily removed in the future if necessary.)
Posted: Wednesday, December 3, 2014
While Michael Gallagher has been busy dealing with the structural issues of Charles Le Brun's great family portrait, I have felt privileged to be an attentive observer. But I have also been thinking about one of the many features that makes this painting so fascinating—the fact that Le Brun included his own reflection in a black-framed mirror propped on a table.
Posted: Monday, December 1, 2014
Paul Cézanne is central to the study of modern art, yet one of his most frequently painted subjects, his wife, Hortense Fiquet, is often neglected in the scholarship on the artist. If she is mentioned at all, Hortense is described as ill-humored and as a negative influence on Cézanne's painting. Madame Cézanne, the catalogue accompanying the eponymous exhibition currently on view through March 15, 2015, aims to reevaluate these perceptions of Hortense. I sat down with Dita Amory, curator of the exhibition and co-author of the catalogue, to discuss the book and the complicated, enigmatic relationship between Cézanne and his wife.
Posted: Wednesday, November 19, 2014
One thing you learn quickly in conservation is that the objects under your care make the rules! Frequently, well-thought-through plans or strategies for approaches to treatment have to be tweaked or completely rethought.
Posted: Thursday, November 6, 2014
That's right; our newly acquired Jabach portrait arrived at the Museum with no frame. When I inquired about the omission, I was told that the frame it had had in London was not worth sending over. Besides, that frame no longer fit the picture, since it had been made when the top of the canvas was folded over. (See "The Jabach Conservation Continued: Next Steps" for more on the fold in the canvas.)
Posted: Wednesday, October 22, 2014
Now that I've finished the cleaning of the Jabach portrait, it is time to deal with the distortion resulting from the top of the picture having been folded over (as described in my last post). We first had to construct a platform on which to lay the picture face down while working on the reverse side of the canvas. This was custom built by our structural specialist, George Bisacca.
Posted: Wednesday, October 8, 2014