Before restoration
After restoration
Cleaning process of the painting
Reverse before restoration
Reverse after restoration
Author: Unknown.
Style: Baroque.
Title: untitled.
Subject : Crucifixion.
Period : XVIII c.
Sizes: 22.3cm x 16.8cm x 0.5cm
without frame.
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The state of conservation of the painting is bad.
• Copper support : The copper shows deformations and a small hole in the upper central part of the support. On the reverse some very common kind of oxidation on copper such as cuprite (red oxidation) can be noticed. On the obverse of the painting other oxidation such as tenorites (little black spots without painting left beneath) are visible; there are chlorides such as nantokites (grey area at the lower part of board) as well, and carbonates such as malaquites (of green colour and which can be seen beneath the burnt areas).
• Preparatory layer: It is formed by thin, brush applied, lead-white layer. Corresponding losses in the areas of pictorial losses and oxidated areas are observed.
• Painting layer: Oil paint applied with brush. Brushstrokes are thinly applied and show no impastos. There is some overpainting with dark impastos on all the background of the painting (area of landscape and sky). Moreover, a very extensive part of Christ's legs and its surrounding area show burns. Pictorial losses are seen in burnt, as well as overpainted and oxidated areas.
• Surface layer: A bitumen layer is applied as a varnish on the surface and the poor state of conservation becomes easily visible. Dirtiness due to burns and dirt.
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Due to the present state of conservation of the work the procedure of restoration will be carried out as follows:
• Analysis and condition report.
• Dry cleaning of the surface dirt.
• Cleaning tests.
• Protection facing of the painting layer.
• Mechanical dry-cleaning of the reverse.
• Protections of the reverse against oxidation.
• Mechanical dry cleaning of the obverse with non-aqueous kompresses.
• Colour illusionist retouching.
• Protective natural dammar varnish coating.
• Preparing the restoration report.
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Advices for preventive conservation
It is advised to conserve the painting in a temperature between approximately 19ºC to 21ºC and in relative humidity between 60% to 65%. Also the painting should not be exposed to direct warm sources of heat (central heating,.) neither humid nor sunny areas. Moreover, any adhesive tape should ever be attached between the copper and the stretcher.
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