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

TITLE:	Replica of the icon Skopiotisa from 18^th century; 2008.
ORIGINAL:	Private ownership
AUTHOR:	Unknown artist
DIMENSIONS:	37x49 cm
TECHNIQUE:	Egg tempera on wood - pastiglie technique with silver leafs
NOTE:	The displayed works are accomplished through the use of ancient pictorial techniques passed on by Cennino Cennini in his treatise “Il Libro dell’ Arte” from 1437.

ICONS – HISTORY, FUNCTION, FEATURES

REPLICA - METHODOLOGY OF CONSTRUCTION

The displayed works are accomplished through the use of ancient pictorial techniques passed on by Cennino Cennini in his treatise “Il Libro dell’ Arte” from 1437. The selection of the materials is of great importance in order to accomplish a superb level of craftsmanship in the final appearance of the replica. The icons are painted on wooden supports of poplar and cherry wood, while the selection of the painting materials, depends on medieval palettes of the Byzantine icon-painters.
First the wood was treated with animal glue and than covered with ground in few thin layers. After the ground has been polished, the preparatory sketch was applied and the carving of the figures was made. Furthermore, the gilder’s clay base was applied on which the golden or silver leafs were lay down. The underpainting was applied in the verdacio technique by the use of egg tempera. Than a delicate shading of flesh tones and drapery of the saints was made with fine thin brush strokes - the technique called trateggio. Finally the icons were protected with a thin layer of wax coating, which was fine polished.

GILDING PROCESS – METHOD AND TECHNIQUE

Doratura a guazzo or water gilding presents a traditional technique that has been used since the thirteenth century by the great Italian and European artists. The preparation of the wood panel begins with application of a primer layer of hydrated calcium sulphate, also known as Bologna gypsum. Usually 2-5 coats of this gesso are required, and it has to be sanded very carefully to leave the panel perfectly smooth. The next step is the clay bole, which is mixed with water and glue. The bole affects the final color of the gilding. Therefore, it may be yellow (for bright gold), red (for dark gold), or black (for antique gold). When the panel is perfectly smooth the application of sheets of gold or silver leafs starts, by the use of a fine knife (gilder’s knife) and soft brush. Before this operation it is essential to spread a very fine layer of a mixture of alcohol and water.

CHARACTERISTICS OF EGG TEMPERA TECHNIQUE

Tempera, also known as egg tempera, is a permanent fast drying painting medium consisting of colored pigment mixed with a water-soluble binder medium (usually a glutinous material such as egg yolk or some other size). Tempera also refers to the paintings done in this medium. Tempera paintings are very long lasting, and examples from the first centuries AD still exist. Egg tempera was a primary method of painting until after 1500 when it was superseded by the invention of oil painting.

http://en.wikipedia.org/wiki/Tempera

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...]