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

Restoration workshop Loss Compensation in Paintings - Filling and Retouching

In November 2011. I was a participant in a very interesting restoration workshop on retouching and filling materials for paintings. Namely, the reconstruction of the ground and retouching are two final steps of every common conservation and restoration treatment on paintings. This three-day workshop was held from 10th to 12th November 2011 at the Museu Nacional de Soares dos Reis in Porto, Portugal. It was organized by Portuguese conservation studio 20 | 21 Conservação e Restauro. Instructive lectures offered a panoramic view of the available materials and techniques for reconstructing the ground and retouching.

Workshop lecturer, professor Laura Fuster-Lopez, has reviewed the mechanical and dimensional properties of the material for the reconstruction of traditional, synthetic and commercial fillers,  reliability of the used substances, materials and methods to reproduce the texture and impasto, and materials for retouching. The comprehensive program has combined theory and practice, allowing participants to apply  their own skills and experience in dealing with certain issues.

In the practical part of the workshop we have made molds for the replication of fabric textures and impasto. We have also prepared variety of fillers based on organic and inorganic medium. Participants had a chance to test the application of few ready-made products and prepared mixtures, thereby learning about the material characteristics such as rate of drying, resilience, capacity of modeling, etc.

Also, we have examined the various possibilities of modern media and the industrial produced paint for retouching paintings while exploring their optical properties in hue and saturation, as well as their physical capability of producing the impasto effects.

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...]