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The Removal of Overpaintings in the Case of a Newly Found Painting by Master HGG

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The Removal of Overpaintings in the Case of a Newly Found Painting by Master HGG Varstvo spomenikov 45 Simona Škorja The removal of overpaintings in the case of a newly found painting by Master HGG Keywords: parish church of St Martin’s, Laško, mature period of Master HGG, painting on canvas, conservation, restoration, ethics of removing overpaintings, scientific examination methods Abstract The article looks at the issue of overpaintings of works of art on canvas supports, with a focus on a newly discovered painting by Master Hans Georg von Geigerfeld from the parish church of St Martin’s in Laško, which had been overpainted in its entirety. The subject of the removal of overpaintings from works of arts is interesting from several points of view: the procedures involved in the actual removal, scientific testing procedures, the interpretation of research results and the professional and ethical dilemmas faced by restorers during this process. The article introduces the methods and procedures used in the removal of overpaintings and discusses the issues raised during the conservation- restoration work carried out on the painting in question. Introduction The oil painting on canvas showing the Holy Trinity (83.5 x 51.5 cm) is part of the Rosary altar from the parish church of St Martin’s in Laško.1 In 2006 the painting was brought to the easel painting department of the Restoration Centre at the Institute for the Protection of Cultural Heritage of Slovenia (RC ZVKDS) as part of the project to restore the altarpiece.2 Even an initial close inspection in visible light revealed that the painting had been overpainted with dense, thick applications of oil paint. We read that the painting is ‘completely overpainted or even newly painted’3 in Topografsko gradivo by Jože Curk. Initial probes of the paint layer showed that below the overpaintings there is a complete and well-preserved original layer. After consultation with the expert commission, we decided to remove the overpaintings, since it was clear that the overpainting did not come near to the quality of the original artist. The case is all the more interesting because below the two layers of overpaintings a work by Master HGG was revealed.4 Simona Škorja, Reka 24 a, 3270 Laško 218 Varstvo spomenikov 45 Overpaintings Throughout the history of art there have been cases of overpainting, sometimes partial and sometimes complete. Most overpaintings were done in the 19th century. The reasons for them mainly derive from the ideological preoccupations of a given period. The great majority of overpaintings are the result of inappropriate ‘refreshing’, ‘embellishing’ or renovation of a work of art. We can even observe complete reworkings of style or of individual details. Also frequent are iconographic repaintings that are subordinate to the function of ideological orientation. The overpainting of genitals, for example, provided an additional source of income to some painters (e.g. Il Braghettone).5 Overpaintings may also conditionally be said to include corrections by the artist made during the creation of the work of art. During the painting process the artist sought the right composition, changed the position of attributes, redesigned specific details, and so on. All these corrections are conserved in the lower layers of the painting and can be seen using scientific techniques. Corrections (overpaintings) visible to the naked eye are technically known as pentimenti.6 In accordance with current conservation-restoration ethics, overpaintings by the artist are simply documented photographically but otherwise left alone.7 The attitude towards the removal of overpaintings is connected with the institutionalised development of the conservation-restoration profession in Europe in the first half of the 20th century. The first theoretical guidelines were indicated in the 1930s,8 and a unification of the views of the different currents took place in the 1970s, 1980s and 1990s.9 The 19th century and the early 20th century were marked by a strongly negative attitude towards the removal of overpaintings, both among experts and among the general public. This view was partly the result of lack of knowledge and mistrust of the new technologies and methodologies that began to be introduced in the profession at the end of the 19th century. In the first half of the 20th century, the development of science and the use of scientific methods made it possible to get an exact view of individual layers of a painting. Over time, opinions changed. Today the conservation-restoration profession has a proper theoretical basis and clear guidelines for practical work. The established practice in Slovenia requires the convening of an expert commission consisting of experts from various fields connected with conservation-restoration (for example a restorer, a chief conservator/ curator, an art historian, a chemist and the owner or commissioner of the work). The commission adopts a joint decision on the treatment of the work of art, supported by arguments (the results of scientific investigations, a study by an art historian, etc.), and is responsible for the decisions taken. In the case of the ‘Laško painting’, the overpainting is the result of a stylistic transformation 219 Varstvo spomenikov 45 and an inappropriate ‘renovation’ of the work of art. A literary source (Jože Curk) states that the altarpiece was renovated three times. Two layers of overpaintings covering damage to the paint layer and support were observed on the painting. The artist’s corrections are only visible in X-ray images. Additional glazes were identified on the hair of the figures of God the Father and Christ and the beard of God the Father (increasing volumes). The composition of the fingers on Christ’s left hand has been altered, while on the right hand of God the Father the fingers have been lengthened.10 Scientific examination methods and the technological structure of the painting The results of scientific methods of examination are extremely useful in conservation- restoration work. Answers to questions are usually given by the results of various methods of scientific examination. The important factors here are the choice of suitable methods, analysis, and above all the interpretation of results that is provided by an experienced expert. The following scientific methods were used to examine the ‘Laško painting’: UV fluorescence, X-rays, SEM-EDX and histochemical dyeing.11 Samples of the paint layers (SEM-EDX analysis) were taken by decision of the expert commission primarily in order to determine or confirm the authorship of the painting.12 We compared the samples with the existing reference database of samples from paintings by Master HGG.13 By comparing the pigments used and the painting technique it was established that the painting can be attributed to Master HGG. ‘The composition and structure of the paint layers was most similar to those in the signed paintings of St George (National Gallery of Slovenia) and the Assumption of Mary (Dolenjska Museum, Novo Mesto) and the painting of St Valentine (chapel of ease dedicated to St James in Ždinja Vas) attributed to the workshop of Master HGG.’14 In order for us to be able to compare the painting to other works by the artist, an X-ray image comparable to the X-rays of these works was taken. The next stage was an art historical analysis of the altar by Ana Lavrič and Blaž Resman: ‘[...] and suddenly it became clear that all the paintings from this altar show the characteristics and distinctive features of Geiger’s style [...]’. Through the samples taken from the original paint layers we obtained key information about the painting technology employed and information about the original colour scale of the painting. 220 Varstvo spomenikov 45 It is evident from the sample sections of the paint layers that the painter began by applying a transparent size (an isolating agent, probably glue) to the canvas. This was followed by a red ground in a single layer (calcium carbonate and clay), after which he began to build the paint layers. The red palette contains vermilion, red lead, madder; yellow earth pigments, copper green and blue smalt pigment are also used. The artist constructed the paint layers gradually. Numerous layers of glazes (particularly the draperies) are applied using the ‘wet-on-wet’ technique. The artist painted the yellow background in two layers. As a rule he mixed the skin tones on the palette and applied them in two or three layers before concluding with glazes. He underpainted Christ’s drapery with a cool yellow tone and then built form with red glazes. The garments of God the Father are underpainted in grey.15 Analysis of individual pigments also provided interesting information about changes in the original applications of colour. Owing to its exposure to the atmosphere, the madder pigment has faded with time. As a result, Christ’s red mantle has lost chromaticity. Even more interesting is the find of blue smalt pigment in the garments of God the Father. Since this pigment has changed with time, today God the Father is dressed in brown garments. This knowledge gives us an entirely different picture of the relationships between colours in the work of art at the time it was painted.16 As we know, colour is one of the elements of a painting that provides information important for its evaluation from the art historical point of view. Naturally, in accordance with contemporary conservation- restoration ethics, we conserved and presented the existing state of the work of art with all the changes to the original materials. Removal of overpaintings The canvas showing the Holy Trinity was painted in a semicircle in oils and stretched over a wooden board. Even with the naked eye it could be seen that the painting had been roughly overpainted with thick coatings of oil paint over damage to the woven support. By means of probes and inspection of the painting using the UV fluorescence method, we identified two layers of overpainting.
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