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61This 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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62This 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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64Extremely small brushes are used to carefully mix and apply the reversible, stable conservation paints to areas of loss and abrasion.
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65Extremely small brushes are used to carefully mix and apply the reversible, stable conservation paints to areas of loss and abrasion.
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67Extremely small brushes are used to carefully mix and apply the reversible, stable conservation paints to areas of loss and abrasion.
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69This 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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71Extremely small brushes are used to carefully mix and apply the reversible, stable conservation paints to areas of loss and abrasion.
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73Continued retouching/inpainting small areas of loss as well as larger textured fills.
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79The 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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