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Beautiful, subtle details in King Saul's face as well as the colors of his vibrant red robe were revealed after removal of the discolored, degraded varnish.
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Date: 2014-03-07
Goliath's head was executed skillfully and fairly quickly, using a darker palette to convey a somber effect. Many of these details were revealed during the cleaning process as well as old tears and abrasion to the paint layer that had occurred during a previous restoration attempt.
timeline view   simple view
Date: 2014-03-07
This particular female head was applied directly atop the blue sky during the final painting stages (please refer to the X-radiography section). Unfortunately, this area eventually suffered from significant degrees of blanching in the varnish and darkened overpaint due to previous restoration attempts. During varnish removal, many of the original details in the face were successfully recovered
timeline view   simple view
Date: 2014-03-07
Fills continued to be applied to areas of loss throughout the bottom half of the painting. The team began to tone the white fills (both new and old) with red-brown colored gouache paints (Pictured here: Tia Polidori)
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Date: 2014-03-16
A detail of the left edge during fill application. Note the presence of both old and new fills; areas of loss where the canvas has been left exposed have yet to be filled.
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Date: 2014-03-16
A detail of the left edge after fill application and during the toning process. Red-brown colored gouache paints were applied to all areas of fill in order to match the original stratigraphy of the painting, Cross-sectional analysis revealed that the artist applied at least two coats of red-brown paint to the canvas to serve as a ground layer before working up the composition.
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Date: 2014-03-19
Dr. Timothy McCall and Kristin deGhetaldi host art history classes in front of the picture (Pictured here: Dr. Timothy McCall, Kristin deGhetaldi with Villanova University students).
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Date: 2014-03-24
Continued with removal of varnish and overpaint throughout the upper section of the painting. The team continued to apply fills to areas of loss in the bottom section of the painting and to tone existing fills
timeline view   simple view
Date: 2014-04-01
Continued with removal of varnish/overpaint throughout the top half of the painting and along the outermost edges (Pictured here: Ellen Nigro)
timeline view   simple view
Date: 2014-04-07
Significant paint loss was revealed throughout the helmet and feather plume of the standing soldier after removal of the thickly applied varnish and overpaint.
timeline view   simple view
Date: 2014-04-07