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561This female head was added into the composition during a later painting stage directly over the blue sky. Extremely small brushes were used to carefully mix and apply the reversible, stable conservation paints to areas of loss and abrasion, especially where hints of blue were showing through areas of the woman's face.
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562
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563Extremely small brushes are used to carefully mix and apply the reversible, stable conservation paints to areas of loss and abrasion.
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564
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565Continued retouching/inpainting small areas of loss as well as larger textured fills.
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566
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567
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568
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569
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570
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571The team continued to work intensively on the losses throughout the upper section of the painting, namely areas in the sky and architecture. Extremely small brushes are used to carefully mix and apply the reversible, stable conservation paints to areas of loss and abrasion.<br/><br/>(Pictured Here: Project intern Katie Rovito)
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572
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573Using examples of actual Halberds housed in the Phildelphia Museum of Art as well as the Infrared Image of the upper left corner, the team was able to reconstruct the form of the Halberd as it may have originally appeared.
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574Using examples of actual Halberds housed in the Phildelphia Museum of Art as well as the Infrared Image of the upper left corner, the team was able to reconstruct the form of the Halberd as it may have originally appeared.
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575
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576Extremely small brushes are used to carefully mix and apply the reversible, stable conservation paints to areas of loss and abrasion.
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577Extremely small brushes are used to carefully mix and apply the reversible, stable conservation paints to areas of loss and abrasion.
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578
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579Using examples of actual Halberds housed in the Phildelphia Museum of Art as well as the Infrared Image of the upper left corner, the team was able to reconstruct the form of the Halberd as it may have originally appeared.
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580