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Anthony van Dyck,
c. 1618
Background
Anthony van Dyck
Suffer Little Children to Come unto Me
c. 1618
oil on canvas,
131.4 x 198.2 cm
NGC # 4293
This painting was examined and treated in 1997. The aged
varnish
had become hazy and brown, dulling the colour, and flattening the image.
The restoration process revealed that this artwork was a "painting in
progress".
Click the forward arrow to see the "before
and after" effect of this restoration project.



Varnish
Varnish is a solution of resin, which dries to
form a transparent film or protective coating over the paint.
Challenge
As previously mentioned the varnish had become hazy
and brown.The old varnish and later additions needed to be removed. It appears
that the nineteen year old artist had, initially, intended a smaller work
but expanded the image by unfolding more of the herringbone canvas, extending
first the lower edge, then the left side and then the lower edge again.
There are other signs that the painting was not finished to the usual degree,
such as the obvious pentimento
head between the patrons at the top right.
Click the forward arrow to see the "before
and after" effect of this restoration project.
Pentimento
The visible evidence of an alteration to a painting
that suggests a change of mind or concealed mistake. Over time, the covering
paint layer may become transparent, revealing the artist's first statement.
Features to Note
There are a few features to note on this painting that will help clarify and demonstrate what effect the restoration treatment had on this piece of art.The three areas to investigate are the:
Click on each area to see them in more detail.
Christ's Robe
The purpose of the microscopic analysis is to document the materials and techniques
used by the artist as well as to compare them with those of other paintings
by the same artist or other artists of the same era.
Man's Robe
Notice the discoloured retouching of the old tear
Head Shadow
Notice that the head had been painted over.
Revealing the Details
There were three techniques used to reveal the interesting details of this "unfinished" work of art.
The Techniques:
Infra-red
Photography
Ultra-violet
Fluorescence
X-Radiography
Infra-red Photography
Infra-red radiation is similar to visible light,
but is slightly too long in wavelength for the eye to see; however, it can
be photographed. In conventional infra-red photography, an image is recorded
using film in an ordinary camera.
An infra-red photograph shows layers just below the visible surface of a painting;
pentimenti and underdrawings done in carbon black on a white ground show up
particularly well.
Play the transition then click on the
head area to see more detail.

Notice that the infra-red photography reveals the presence of a head in the background in more detail.
Ultra-violet Fluorescence
This photographic technique uses special filters
over the light source and the lens of the camera, allowing only ultra-violet
rays to reach the painting. These excite the surface layer in a characteristic
way, indicating the type of varnish, the extent of its discolouration due
to aging and how it was applied.
Ultra-violet photography can also reveal later interferences with the varnish
and paint layers.
X-Radiography
This is a form of radiation that passes through
solid objects, but is obstructed to differing degrees by different materials.
In an X-ray image (known as a radiograph) of a painting, areas of paint containing
lead pigment will appear almost white, while areas containing lighter materials
will appear an intermediate grey or dark.
After Treatment
This restoration project was very revealing. Brighter
more volumetric colours appeared and the evidence of an expanded image emerged.
As well an "unfinished" portion of the painting became apparent.
Click the forward arrow to see the "before
and after" effect of this restoration project.




