The canvas was infused with wax in order to relax the canvas distortions and stabilize the lifting paint. The picture was then attached to a solid support (seen here from the reverse). Although this was an accepted conservation practice at the time, such invasive treatments are no longer used.

By 2013, the natural resin varnish, which would have been clear when first applied by a restorer in 1959, had darkened considerably.

An ultraviolet fluorescence photograph reveals the vertical streaks of the discolored natural resin varnish, which indicates that the brush application was originally very uneven.

The discolored natural resin varnish was removed, revealing the true colors of the original composition—notably the clear blue sky. A few minor losses are visible at the left and right edges.

The post The Conservation History of William Henry Huddle’s Marble Falls appeared first on A treasure trove of art inspiration for fashion, music, and gourmet food lovers..

The painting bears a signature which refers to Charles-Antoine’s father, Antoine Coypel, who was also an artist. However, close study of the signature revealed that it was not original; the tail of the ‘y’ in ‘Coypel’ can be seen to overlap an old loss in the paint film (seen here as a reddish area just below the ‘o’), indicating that it was added at a later date, after the loss in the aged and cracked paint film had occurred.

Ultraviolet fluorescence photograph of the false signature:

The signature was also found to be sitting on top of the discolored varnish layer, so that it might have been easily removed during cleaning. Even though it is not original, it is a part of the history of the painting and is not visually disturbing, so it was decided to leave it intact. The ultraviolet fluorescence photograph shows the area of old varnish—which fluoresces a bright green color under ultraviolet light indicating that it is a natural resin)—that was left in the area of the signature.

The minor losses were retouched, a new varnish layer was applied, and the restored picture was replaced in its carved and gilt frame.

The post The Conservation History of Charles-Antoine Coypel’s Les Amours Forgerons appeared first on A treasure trove of art inspiration for fashion, music, and gourmet food lovers..

What they didn’t really bother to collect were his religious works, which most art historians today agree are really the best of his works. In his religious works, the young, controversial, forward-thinking artist of the 17th century combines his observations of every day life, stark experimentations with light sources, and clever use of what seem to be dank, monochromatic compositions into beautifully subtle and “realistic” religious paintings. I’ve seen a few pretty amazing Caravaggios in Italy (particularly in the Galleria Borghese, if you have the luck to visit!), but the Met went out of its way to acquire this very late Caravaggio in 1997 when it came on the auction market, and it’s a good thing they did, because it’s pretty awesome.

The Met’s curator of European Paintings, Keith Christiansen, suspects is one of the very last paintings the artist did. My favorite part about this painting is the light source and how cleverly Caravaggio uses it. Caravaggio is known for being the founder of those “Baroque” light effects, inspiring a league of “Caravaggiesque” painters to follow in his footsteps. Here, as often in Caravaggio’s religious works, the light acts as a religious signifier.

In the painting, St. Peter denies that he is a follower of Jesus to a Roman soldier as a servant girl, who suspects Peter’s true identity, looks on. The Roman soldier is completely in the dark, showing that he has no idea of Peter’s belief in Christ; the servant girl, in partial light, is beginning to recognize Peter; and meanwhile Peter, an apostle, is in full, direct light. This light shows who knows, who doesn’t, who believes — an amazingly revolutionary but clever and subtle way to enhance the story and the intimate image.

And a fun fact: the helmet in the painting is actually in the collection of the Museo Nazionale del Bargello in Florence, Italy (for those of you who’ve read this blog before, you know that’s one of my favorite museums in Italy!). Unfortunately I couldn’t find a picture of the helmet itself, but it’s in there, somewhere, whether in the galleries or in storage! Caravaggio was known to use props in his works and this one is, clearly, no exception. Could it be that Caravaggio’s own prop helmet is, at this moment, sitting in the galleries of the Bargello? Guess I’ll just have to go back to Florence to find out… in the meantime, visit the almost-real-thing in one of Caravaggio’s masterful last works in the Met.

Visit this Caravaggio in the European Paintings gallery at the Metropolitan Museum of Art, 1000 Fifth Avenue at 82nd St., New York, NY.

Visit (or at least look for) the helmet in the Museo Nazionale del Bargello, Via del Proconsolo 4, Florence, Italy.

https://youtu.be/w0TvTOey7K4

Visit (or at least look for) the helmet in the Museo Nazionale del Bargello, Via del Proconsolo 4, Florence, Italy.

The post Caravaggio was not always a ‘trendy’ artist. appeared first on A treasure trove of art inspiration for fashion, music, and gourmet food lovers..

While there are no “world famous” pieces in this museum that most would have heard of, I find it refreshing to wander this quiet museum and not worry about when you will get to the “Mona Lisa” of this college art museum. You get to really look at the art and take it in for what it is, not what you have heard about it. There is a substantial amount of their collection on display, and makes for a well rounded yet not overwhelming experience.

Relief from the Northwest Palace of Ashurnasirpal II at Nimrud
The King and the Genie, Relief from the Northwest Palace of Ashurnasirpal II at Nimrud, 883-859 BCE, Gypsum
While there are many gems in the permanent collection, my favorite thing to see is the group of reliefs from the Northwest Palace of Ashurnasirpal II at Nimrud, Assyria, dating back to circa 883-859 BCE. Ashurnasirpal II was the King of Assyria from 884-859 BCE, and inhabited this palace in present-day Iraq. These over life-sized reliefs made of gypsum occupy a vast wall in one of the galleries, and show a variety of figures, including a King and a Genie. What I find most interesting is that if you look up close, you can see bands of cuneiform (an ancient style of writing) that proclaim the laws of the kingdom. These reliefs stick to the custom of depicting figures solely in profile, and are easily relatable to Egyptian and other Eastern art from that timeperiod. This impressive grouping remains powerful, even removed from its original context, and gives a sense of grandiosity that the original palace must have had. The museum has informative pamphlets that go into depth about the reliefs, the laws they proclaim, the figures they depict, and the provenance of the works themselves.

Maud Sulter, 1989, dye destructions print
Maud Sulter, Terpsichore, 1989, dye destructions print. Arts Council Collection, London. Photograph courtesy of Maud Sulter and the Arts Council Collection, Southbank Centre, London. On view in the exhibition Black Womanhood. Hood Museum of Art, Hanover, New Hampshire

In addition to the vast permanent collection, the Hood Museum also presents about eight special exhibitions each year, as well as two teaching exhibitions each term. To quote the Museum itself, “The exhibitions program of the Hood Museum of Art represents one of the most important means by which the museum fulfills its primary mission: to foster a greater appreciation of the visual arts as a medium for the expression of ideas and cultural values. The exhibitions presented by the museum are intended to contribute to scholarship in art history and related disciplines and to offer insight into the artistic production of many different historical periods and cultures.” The current exhibitions are entitled “Black Womanhood: Images, Icons, and Ideologies of the African Body” and “Ruscha and Pop: Icons of the 1960s”.

Perhaps the most interesting exhibition program that the Hood has (at least to me, as an undergrad Art History major…) is called A Space for Dialogue. This program, started 7 years ago, allows the Senior Interns at the Museum to curate Mini-Exhibitions in the entrance lobby to the museum itself. There have been over 38 since 2001, each accompanied by a brochure written by the intern, and ranging in themes from Consuming Life: On Ideals of Beauty and Assuming Identity in a Culture of Fear to Picturing Family in the “South”: Legacies of the American Civil War. These exhibitions use works from the permanent collection that have not been displayed recently to create a provocative and thoughtful statement as well as give the Seniors a chance to get some hands-on curatorial experience. The full title of this program is: A Space for Dialogue: Fresh Perspectives on the Permanent Collection from Dartmouth Students, and it truly creates a venue for interaction not only between the students and their selected works of art, but also between the viewers, the students, and the museum itself.

Detail of mural by José Clemente Orozco at Baker Library, Dartmouth College, Hanover, New Hampshire.
Gods of the Modern World, detail of mural cycle The Epic of American Civilization. Detail of mural by José Clemente Orozco at Baker Library, Dartmouth College, Hanover, New Hampshire.

The museum is located just off “The Big Green” at the heart of both Dartmouth College’s campus as well as the college town of Hanover, New Hampshire. It is situated next to the Hopkin’s Art Center, and just off the main street where you can find Lou’s (a classy ‘50s style diner, which is also the best place for breakfast in the area) as well as many cute shops and restaurants. Just across the green is the Baker Library, home to Jose Clemente Orozco’s massive mural project entitled The Epic of American Civilization. These works of art depict an intricate and compelling narrative that covers the history of the Americas, beginning with the Aztecs’ migration into central Mexico and ending with the development of our modern industrial society. Located in the Reserve room in the lower level of the library, these vibrant murals (comprised of 24 individual scenes and covering approximately 3,200 square feet) are a must-see for anyone in the area.

Overall, the Hood Museum of Art is a wonderful place to simply enjoy art. As long as you go with an open mind and an eye that is not looking for a Manet or Michelangelo, I truly believe anyone can really enjoy this peaceful and accessible collection. The special exhibitions are always worth a look, and the Museum Staff are very friendly and more than happy to answer any and all questions.

View of Hood Museum of Art from courtyard
Hanover, New Hampshire is pretty far off of the beaten path for most, but the Upper Valley is a great place for a weekend retreat. In the summer, there are endless outdoors activities and even a Drive-In nearby. The Fall offers breathtaking views and hikes as the mountains seem to burst into flame with the changing foliage. In the winter, this cute college town turns into a winter wonderland with lots of local skiing and plenty of raging fireplaces to keep you warm. Lastly, in the spring, (or what we call “Mud Season”) the expanses of blooming flowers and rushing rivers offer a wonderful escape into nature.

It isn’t common to find such an impressive range of art outside of a major city, and I believe the location of the Hood Museum of Art, away from the hustle and bustle of city life, adds to its character of quiet and removed contemplation. It is a sanctuary of sorts, where you can really relax, take a deep breath, and open your eyes to truly see what is in front of you.

The post The Hood Museum of Art in Hanover appeared first on A treasure trove of art inspiration for fashion, music, and gourmet food lovers..