
And this is the painting after it was cleaned and restored:

Pretty amazing, right? The article pointed out how hard it must have been hard for people looking at the painting in the "before" stage to recognize Titian as a master of color and paint. The culprit here, in addition to age, flaking paint, and dirt, was the layer of varnish that yellowed with time. It wasn't the original coat of varnish by any means; this painting had seen numerous cleaning and revarnishings in its lifetime, as it was possible to determine thanks to the detailed records of the National Gallery (they had records on this painting dated 13 years before they even bought it--how English!) While it's impossible to know if Titian originally varnished it himself when he was finished, varnish has been applied to virtually every painting up until the 20th century, both as a protection against the environment and also for the pictorial effect it has of giving everything the same sheen. Unfortunately, every couple of decades it turns yellow and has to be painstakingly removed and replaced.
The other focus of the article we're discussing is the set of scientific tests performed on the painting before beginning the restoration process. This includes X-rays (they can show damage to the paint layers and also changes made to the composition by the artist), infrared photos (they can show you underdrawing by reflecting off the carbon in black ink or pencil) and paint samples, which were extracted via syringe near areas of damage, photographed and blown up 200x so you can actually see the layers of paint and analyze the pigments contained in each.
For example, in the X-rays of this painting the figure of Bacchus was quite clearly defined, while the figure of Ariadne was an illegible mass of white. Because X-rays bounce off the lead contained in white paint of the time (which they unsurprisingly called lead white) it can be determined that Bacchus was probably painted early and not changed, while Ariadne was re-positioned, painted out, and re-painted while Titian tried to figure out what to do with her body, a process involving much more lead white than with Bacchus, hence the blot on the X-ray. The paint samples supported this conclusion by revealing in the Bacchus sample just a few thin layers of pigments over the gesso ground, while in the Ariadne showing first the ground layer, then layers of paint for the sea and sky, which were topped by several layers of flesh colors interspersed with lead white from the re-painting.
Chemical analysis of the pigments themselves can also provide interesting results. In this case, the conservators determined that not only was Titian using the fanciest, most expensive pigments, he was also using them in their purest form, which contributes to the boldness of his colors. The blues, for example, are depicted using ultramarine (crushed lapis lazuli, practically more expensive than gold at the time) for the sky and the cheaper azurite for the sea; the really cheap blues, indigo and smalt, make no appearance whatsoever. This makes sense considering the fact that he painted this work and two others in a series of Bacchanals for the Alfonso d'Este, Duke of Ferrara; the patron had deep pockets and wanted the best.
So that, in a nutshell, is what I'm going to be presenting in class tomorrow. As it was pointed out in our class last week, since conservation info is rarely, if ever, included on a museum label, you have to be careful in writing a painting off for looking dingy or having dark, faded colors, as it may simply be in dire need of restoration; although on the other hand, it could be a Leonardo and then the smudgy darkness just all part of the "sfumato" effect.
I do find the topic of restoration quite interesting, although I would go insane if it were my job, both from the stress of worrying that I'm going to destroy a world-class painting with the wrong cleaning solution and from the amount of patience required to sit there for hours on end pressing down individual paint flakes with a heated spatula. God bless those people, because it's only through their efforts that we can appreciate a painting like this one in the way it was intended.




