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During the team's research rip in Rome, generous colleagues provided high-resolution images of several paintings and frescoes located in and around Rome that are associated with Pietro da Cortona and his workshop. These photos served as important reference images during the reintegration of the large loss in the bottom right corner.
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Date: 2015-05-18
At the 43rd Annual AIC Meeting in Miami, project leader Kristin deGhetaldi delivered a presentation that focused on the restoration of the painting; project interns Keara Teeter and Allison Rabent presented a poster summarizing the three day process involved with x-raying the large 12 by 20 ft painting in-situ
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Date: 2015-05-23
Continued retouching/inpainting small areas of loss as well as larger textured fills.
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Date: 2015-06-01
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)
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Date: 2015-06-07
The architectural features along the right edge of the painting also required several days to perform the reintegration process using retouching paints.
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Date: 2015-06-19
The architectural features along the right edge of the painting also required several days to perform the reintegration process using retouching paints.
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Date: 2015-06-19
The large horizontal tears extending through King Saul's feet were filled, toned, and inpainted using conservation paints.
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Date: 2015-06-19
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