Copy of Madonna in Preghiera after Guido Reni

Institution: Winterthur Museum

Artist: Unknown

Date: 17th century (est.)

Materials: Oil on canvas

Inscriptions: None

Owner: Private Collection

Supervisor: Joyce Hill Stoner (Director, University of Delaware Preservation Studies Doctoral Program)

Consulted: Joyce Hill Stoner; Mary McGinn (Paintings Conservator at McGinn Fine Art Conservation); Adriana Benavides (WUDPAC 2024)

Information

  • I inherited this project from Adriana Benavides (WUDPAC Class of 2024). During 2023, Adriana removed two degraded linings from the painting, which contributed to deformations and warping of the substrate. Adriana removed the painting from its stretcher, applied a facing, and humidified and flattened the artwork.

    The painting had been lined in the past likely to help support tears in the original canvas. The tears were treated with fill material and paint, which contributed to deformations of the substrate.

    My goal is to prepare the painting to be relined by reducing excess fill material and textured overpaint so that the painting can be relaxed into plane. To do this required me to begin varnish removal to be able to locate areas of overpaint and fill and assess their removal.

    The next steps will be humidifying and flattening the painting once more (if necessary), lining the painting, stretching it, followed by aesthetic integration through filling and inpainting.

    • The substrate is warped and distorted due to excess fill material, overpaint, and two linings.

    • The excess fill material and overpaint is lumpy and textured.

    • There are different campaigns of overpaint with different solubilities.

    • The verso has resinous residue (FTIR analysis identified the presence of a triterpenoid resin), which may be contributing to distortion.

    • The varnish layer, is thick, overly glossy, and discolored.

    1. The facing (made of Japanese tissue and applied with hide glue) was removed using cotton swabs dampened with deionized water to assess the surface. Some areas of canvas and paint layers at the edges of the painting were at risk of loss, so the facing was left along the perimeter.

    2. Solvent testing was performed for varnish removal.

    3. The varnish is in process of being removed using a 1-methyl-2-pyrollidinone Carbopol gel.

    4. Previous campaigns of overpaint are being removed using 1-methyl-2-pyrollidinone and a scalpel where the overpaint is heavily oxidized.

    • This project has posed significant challenges, providing me with the opportunity to acquire and practice a range of new skills.

      • Overall humidification and lining

      • Select removal of overpaint.

      • Connoisseurship-based inpainting.

Examination / Condition

  • When the painting arrived at Winterthur, there were two failing linings. These were removed by Adriana Benavides (WUDPAC 2024)

  • This was the state of the painting when I received it. Adriana had removed the two linings and added a facing.

  • The overall state of the canvas is poor. It is severely weakened, brittle, and no longer adequately supports the paint layers. Previous restoration material is causing lumps in on the recto and verso of the painting and prevents it from being lined in plane.

  • The raking light images shows the distracting effect of the lumpy restoration material.

  • The Madonna's face suffers from textured overpaint in addition to fill material.

  • To prepare the painting to be relined, I sought to remove the excess restoration material. I've used Adriana's x-radiograph as one way to help me distinguish original from restoration material.

  • One condition issue that prevented me from distinguishing original material from restoration material is a very glossy, thick, and unevenly applied varnish layer.

  • This cross-section Adriana made shows the multiple varnish layers, the top one being very thick. Adriana did FTIR and suspects the top varnish layer is polyvinyl acetate (PVA)-based.

Treatment (ongoing)

  • This treatment is in progress. The varnish is being removed to help reveal the old restoration material that needs to be removed so the painting can be lined in plane. The Carbopol gel is being cleared using 1-methyl-2-pyrollidinone. The image on the right shows the current state of varnish removal.

  • The varnish removal is going well. Delicate shadows are being retrieved.

  • The varnish removal is allowing me to assess the overpaint and fill material and decide whether it should be removed.

  • There are multiple campaigns of old overpaint. Some solubilizes after prolonged contact with 1-methyl-2-pyrollidinone. I am currently testing to see how much I can safely remove using the solvent as well as a scalpel for the oldest overpaint.