Word: painted
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Dates: during 1970-1979
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...these two categories of conservation are never far removed from one another. Beale explained that even though a painting may sometimes look bad but remain structurally sound, varnish eventually cracks paint and causes structural damage, in addition to offending the aesthete...
...Objects Lab, a Greek vessel lies on its side on a sponge cushion. Dipping a Q-tip in a solution an assistant removes old paint used to cover earlier retouching, exposing the crack-mending in the process. The slow and tricky work is necessitated solely by changed aesthetic tastes. Formerly, conservators could use new paint to "restore" a lost section of a picture without invoking the wrath of purists. Now, Beale said, the emphasis on presenting just the original, even when that causes gaps in a pattern...
...preparation for this summer's Masterpiece Exhibition, he Painting Lab is cleaning a Courbet on loan. "By removing old, yellowed varnish," Beale said, the painting "not only looks fresher but the perspective actually changes a little." But the painting will also need structural repairs. For example, the work suffers from what Beale, in all seriousness, called "a cleavage here in the middle" where the paint is cracking and in danger of flaking off. A few tiny white flecks illustrate where this process has already occurred...
...terrible condition of a painting often stems from the old, rotting canvas behind it. Transferring the paint onto new canvas is such a difficult task that it is only undertaken in extreme cases. Usually a second canvas is waxed onto the original one to strengthen it. The painting is placed on a heat table, where the second canvas is adhered...
Sweetness of Touch. Light, considered as a sign of divine immanence, fascinated Ensor. It gives a special tension to his skeleton pieces, mask paintings and the street scenes of his best years, from about 1885 to 1900: glitter and death, dark subjects and brisk high tones. The brutally emphatic imagery was created with a disconcerting sweetness of touch. Skeleton Painter in His Atelier, 1896, typifies this: the surface is almost as pretty as a Bonnard (though not nearly so well painted), and the very fact that Ensor was not trying to use illusionist tricks to convince viewers of the skeleton...