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Duclos’ Copy of the Madonna del Sacco at the Accademia, a 2011 AWA restoration
Restoration ready
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Restorer Rossella Lari's offers an analysis of Duclos' painting technique. "Duclos created her copy on a single canvas, and applied several preparatory layers using an earth red base. She then applied a thin coat of ceruse and finally, the paint itself. The painter then began her work, starting with the background color, making the first layer darker than the last. This darker layer shows through in some areas, creating brown leveling marks. The two layers did not blend well and some points suffered from losses of the overlying color. Duclos’s brushstrokes are long, wide, and fluid; she appears to have applied them with self-assuredness. Her background paints do not overlap, following instead a precise design. Her colors include a rich variety of shades, and they modulate the fabrics’ chiaroscuro, showcasing a palette that harmoniously ranges from light, luminous shades to darker more intense hues, carefully emulating the wealth of color characterizing the Del Sarto fresco. Duclos’s colors include ochre-yellows and reds and siennas; they were mixed in with white cinnabar and ultramarine—the famed, but costly lapis lazuli, was the only blue Parenti Duclos used.
Quote from: Irene Parenti Duclos, A work restored, an artist revealed (The Florentine Press, 2011)
Quote from: Irene Parenti Duclos, A work restored, an artist revealed (The Florentine Press, 2011)