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84Continued retouching/inpainting small areas of loss as well as larger textured fills.
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90Extremely 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 Claire Burns)
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92Continued retouching/inpainting small areas of loss as well as larger textured fills. Completed texturing all fills throughout the painting.Conservation team presents at the Annual Meeting for the American Institute for Conservation in Miami.
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99Several distracting pentimenti (original changes made by the artist that were not meant to be seen) had to be carefully suppressed using conservation paints in areas throughout Abner's face and helmet. As seen in the x-ray and IR images, Abner's helmet was originally lower and adorned with an elaborate feather plume but was eventually adjusted during the later painting stages. However, as oil paint can become more transparent over time these pentimenti began to become visible, giving rise to distracting, ghostly forms in the paint.
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