![]() ![]() ![]() The job of Stonor and Richardson in carefully removing the areas of varnish, chucking out the cradle and finding precise matches for the pigments, glazes and grounds which will wear appropriately is not to future-proof the painting indefinitely but simply to “stabilise” it for the next hundred years. “However, it can sometimes be difficult to tell as a sign of good restoration is that it wouldn’t show.” “We think that there have been three previous campaigns of restoration,” Richardson said, showing me where the discoloured filler had been chipped away to reveal the joins between the five panel pieces which make up the painting.
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