Home >> Art in Need >> What can I help restore now? >> The Art of Healing >> What’s in store for Violante’s works?
What’s in store for Violante’s works?
| SHARE |  |  |
Here's a quick glimpse at the restoration process.
Prior to the removal of Ferroni's paintings from their niche, the areas of paint film which are in danger of detachment will be re-adhered with the application of facing paper and appropriate adhesive. Following documentation, diagnostics, and solvent testing, the cleaning phase will begin with the gradual removal of the extraneous layers from both the painted surface and the reverse of the canvas. The oxidized varnish layers will be thinned and any altered repaints removed. The reverse of the canvas will be treated. The consolidation procedure will then re-establish lost adhesion between the paint, preparation and canvas layers as well as to improve the distortions in the paint film caused by cupping and excessive cracking. The edges of all canvas tears will be realigned and then re-woven. Perimetral strips of polyester canvas will then be applied in order to re-stretch the painting onto a new custom made expansion stretcher. Once mounted on an expansion stretcher in seasoned wood with beech wood keys, all of the paint losses will be filled and pigmented to blend with the dark red preparation layer of the original. The infills will be leveled and the surface irregularities of the original imitated. All losses will be integrated with infill inpainting. Restorers: Elisabeth Wicks and Marina Vincenti. Project supporters: AWA, Robert Lehman Foundation, FSU in Florence, Art Angels.
Prior to the removal of Ferroni's paintings from their niche, the areas of paint film which are in danger of detachment will be re-adhered with the application of facing paper and appropriate adhesive. Following documentation, diagnostics, and solvent testing, the cleaning phase will begin with the gradual removal of the extraneous layers from both the painted surface and the reverse of the canvas. The oxidized varnish layers will be thinned and any altered repaints removed. The reverse of the canvas will be treated. The consolidation procedure will then re-establish lost adhesion between the paint, preparation and canvas layers as well as to improve the distortions in the paint film caused by cupping and excessive cracking. The edges of all canvas tears will be realigned and then re-woven. Perimetral strips of polyester canvas will then be applied in order to re-stretch the painting onto a new custom made expansion stretcher. Once mounted on an expansion stretcher in seasoned wood with beech wood keys, all of the paint losses will be filled and pigmented to blend with the dark red preparation layer of the original. The infills will be leveled and the surface irregularities of the original imitated. All losses will be integrated with infill inpainting. Restorers: Elisabeth Wicks and Marina Vincenti. Project supporters: AWA, Robert Lehman Foundation, FSU in Florence, Art Angels.
San Giovanni di Dio gives bread to the poor, Violante Ferroni