The Storm on the Sea of Galilee

Replica of Rembrandt’s The Storm on the Sea of Galilee from 17th century 2011, Oil on canvas, 60x80 cm

Christ and St Mary Magdalene at the Tomb

Replica of Rembrandt’s Christ and St Mary Magdalene at the Tomb from 17th century 2011, Oil on canvas, 60x70 cm

Ascension

Replica of Rembrandt’s Ascension from 17th century 2011, Oil on canvas, 60x80 cm

Mona Lisa

Replica of Leonardo’s Mona Lisa from 16th century 2007, Oil on wood, 53x77 cm

Icon Skopiotisa

Replica of the icon Skopiotisa from the 18th century, 2008, Egg tempera on wood - pastiglie technique with silver leafs, 37x49 cm

Old Man in Military Costume

Replica of Rembrandt’s Old Man in Military Costume 2003, Oil on canvas, 60x70 cm

Virgin and Child with St. Anne

Replica of Leonardo’s the Virgin and Child with St. Anne 2009, Oil on wood, 111x148 cm

Retouching work

THE MAKING OF RETOUCH

Making of retouch is limited only to areas where the original form of the painting is damaged. Retouch imitates the original painters technique in the structure of a brush stroke as well as in the applied tone scale. This allows that preserved parts of the painting overcome in the visual experience of the observer.

First stage is making of underpaint with fine brush in gouache paints. The underpainting must be several shades lighter than the original. It must contain all the details that are missing in the original composition. The next stage is applying thin coats of glazes that are made of resin-based medium and pigments. With those glazes it is possible to achieve veracious color intensity.

Retouching should always be limited only to areas of loss or abrasion. The goal of retouching is to make the painting unified without changing or improving the artist’s original intent. It is important that retouching is executing with paints that will not discolor and that will always be easily removable by a conservator in the future.

Baldasare d'Anna:	Unknown artist:	Unknown artist:

Replicas

Each painting demands an individual approach in copying. The most complicated pieces often present a real challenge, especially when it comes to the indistinguishable color patterns of impressionists or extremely delicate sfumato technique. The most important thing is that the finished copy evokes exactly the same feelings as the original masterpiece. Then I have succeeded. [Continue...]

Retouching work

Retouch is limited to areas where the original form of the painting is damaged. Retouch imitates the original painters technique in the structure of a brush stroke as well as in the applied tone scale. This allows that preserved parts of the painting overcome in the visual experience of the observer. [Continue...]

Events

In November 2011. I was a participant in a very interesting restoration workshop on retouching and filling materials for paintings. This three-day workshop was held at the Museu Nacional de Soares dos Reis in Porto, Portugal. It was organized by Portuguese conservation studio 20 | 21 Conservação e Restauro. [Continue...]