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    The team began 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 leader Kristin deGhetaldi and intern Katie Rovito)
    timeline view   simple view
    Date: 2015-06-07
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    The architectural features along the right edge of the painting also required several days to perform the reintegration process using retouching paints.
    timeline view   simple view
    Date: 2015-06-19
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    The architectural features along the right edge of the painting also required several days to perform the reintegration process using retouching paints.
    timeline view   simple view
    Date: 2015-06-19
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    The large horizontal tears extending through King Saul's feet were filled, toned, and inpainted using conservation paints.
    timeline view   simple view
    Date: 2015-06-19
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    The large horizontal tears extending through King Saul's feet were filled, toned, and inpainted using conservation paints.
    timeline view   simple view
    Date: 2015-06-19
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    The architectural features along the right edge of the painting also required several days to perform the reintegration process using retouching paints.
    timeline view   simple view
    Date: 2015-06-22
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    The large horizontal tears extending through King Saul's feet were filled, toned, and inpainted using conservation paints.
    timeline view   simple view
    Date: 2015-06-22
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