Completed Varnish/Overpaint Removal

Completed removal of the degraded varnish and overpaint from the top half of the painting. At this stage of the treatment the entire surface has been consolidated and cleaned.

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Date: 2014-05-07

Project Awarded Kress Grant

In May 2014, the project Conserving a Giant: Resurrecting Pietro da Cortona's "Triumph of David" was awarded a substantial grant from the Samuel H. Kress Foundation. These funds helped to support acquisition of the X-radiograph of the gigantic canvas and to support research travel associated with the project (specifically to Rome, Italy). The Kress foundation praised the interdisciplinary nature of the project, which had thus far involved a number of department and offices at Villanova and surrounding institutions, engaging scholars and students of art conservation, chemistry, history, and art history. The grant also supported the collaboration between members of the conservation team, Villanova University's Falvey Library, and UNIT (the IT Department) to create a "webexhibit" exploring the Triumph of David. Finally, remaining funds from the grant would support a symposium at the completion of the project, an event that will involve a number of scholars and students from various fields who have contributed to the Conserving a Giant project (proposed date October 26th, 2015 (Pictured here: Dr. Anthony Lagalante, Kristin deGhetaldi, and Dr. Timothy McCall<br/><a href="https://thetriumphofdavid.com/news/generous-support-from-the-samuel-h-kress-foundation-allows-conservation-team-to-x-ray-triumph-of-david/" target="_blank">Click here to read more in our blog</a><br/><a href="http://www.kressfoundation.org/" target="_blank">Click here to read more about the Foundation</a>

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Date: 2014-05-13

Continued with Fill Application/Toning

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Date: 2014-05-19

Continued with Application of Fills and Toning in Bottom Half

The team continued to apply inert, stable fills throughout the bottom section of the painting and to tone old and new fills with red-brown gouache paints

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Date: 2014-05-19

VIS/UV Sample 11

This sample was collected from a white-blue highlight on Abner's helmet after the removal of the degraded surface coating. The red-brown ground can be seen followed by several layers of paint, indicating that multiple adjustments were made to this area of the composition (visible light/ultraviolet light/100x magnification). Ultraviolet illumination helped to reveal the presence of a double red-brown ground as well as several colored layers of paint beneath the light-colored highlights. These yellow and red colored layers may correspond to initial position of Abner's head and helmet as later examination with x-radiography confirmed that major changes were made to this area during the final painting stages.

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Date: 2014-01-22

VIS/UV Sample 12

This sample was collected from the green-colored mountains in the distant background after removal of the overpaint and degraded surface coating. The red-brown ground can be seen followed by a thin layer of green paint rich in yellow/green earth and lead white (visible light/ultraviolet light/100x magnification). Ultraviolet illumination helped to reveal the presence of a double red-brown ground.

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Date: 2014-01-22

VIS/UV Sample 13

This sample was collected from the green-colored leaf from the flower garland after removal of the overpaint and degraded surface coating. The red-brown ground can be seen followed by a thin layer of green paint rich in yellow/green earth and lead white with a trace of vermillion from the edge of the red flower (visible light/ultraviolet light/100x magnification). Ultraviolet illumination helped to reveal the presence of a double red-brown ground as well as a curious auto-fluorescent glaze layer between the paint and ground layers. This layer may correspond to a pigmented glaze/varnish layer that was applied to this area before the artist(s) began the painting process.

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Date: 2014-01-22

VIS/UV Sample 14

This sample was collected from the green-colored cushion on King Saul's throne before removal of the degraded surface coating. The red-brown ground can be seen followed by a two thin layers of paint (visible light/ultraviolet light/100x magnification). Ultraviolet illumination helped to reveal the presence of a double red-brown ground, green earth particles in the paint layers, and the thick nature of the degraded surface coating in this particular section of the painting.

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Date: 2014-01-22

Public Outreach

Dr. Amanda Norbutus hosting an "Art and Science" class in front of the painting (Pictured here: Dr. Amanda Norbutus with Villanova University Students).

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Date: 2014-01-28

Status

Continued with overpaint/varnish removal of top half of painting. The team began applying stable, reversible fills to areas of loss throughout the bottom section. Project featured on NPR's radio program "The Pulse."

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Date: 2014-02-01

Before Treatment

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Date: 2014-02-01

January 2014

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Date: 2014-02-03

January IMAGE

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Date: 2014-02-03

February 2014

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Date: 2014-02-05

February IMAGE

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Date: 2014-02-05

Continued with Consolidation and Cleaning of Upper Section

Continued with overpaint/varnish removal throughout top half of painting as well as consolidation of flaking/insecure paint (Pictured here: Maggie Bearden.

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Date: 2014-02-07

Background Group of Soldiers

During varnish removal, beautiful details were revealed in King Saul's face as well as the vibrant red of his cloak.

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Date: 2014-02-07

Woman with Flowers

This area suffered from significant degrees of blanching in the varnish and darkened overpaint. During varnish removal, many of the original details were successfully recovered, including the braid that was obscured beneath the degraded varnish and the delicate details throughout the face.

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Date: 2014-02-07

Before

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Date: 2014-02-07

Before IMAGE

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Date: 2014-02-07