The mystery figure in the NGV Crossing of the Red Sea

Detail of NGV  Crossing of the Red Sea   by Nicolas Poussin

Before the cleaning of  Crossing of the Red Sea   took place, there was one figure in it which had attracted attention from observant viewers. This figure in blue, nestled in among the throng of agitated Israelites, looked over her shoulder directly at the viewer. She drew attention because there was something odd about her in comparison with the figures nearby: the modeling of the paint in her face was much less refined than those of her companions, and she seemed contorted in a rather unusual way. There was a suspicion that the face was either severely worn or else the work of a restorer.

The rediscovery of a “lost” replica

In the previous post we looked at Etienne Gantrel’s engraving and the Gobelins tapestry as tools for identifying some of the changes which have occurred to the NGV Poussin.They certainly suggested that a considerable amount of change has occurred in the sky of our painting, however they are of limited use for a conservator attempting to recover or reconstruct lost passages of original paint. So though Horace Buttery may have been aware of them when he restored the painting in 1960, he may well have chosen not to rely on them for his treatment.

Using copies to learn about lost information

When Horace Buttery cleaned the   Crossing of the Red Sea   in 1960, he encountered a painting which had suffered surface damage from previous cleaning attempts.He knew his job would be to reconcile the well preserved parts of the painting with those areas which were permanently affected by paint losses and abrasion to the surface, particularly in the sky. He was faced with the task of trying to recover some of the lost appearance of that crucial component of the painting. It is possible, but not likely, that he had access to copies of the painting that were made in the late seventeenth and early eighteenth centuries.These copies could have provided him with some help in retrieving certain details which were now lost from the original.

Removal of varnish and old retouchings

Cleaning tests had revealed that the old varnish - applied by Horace Buttery in 1960 - could be removed using standard cleaning solutions without risking Poussin's paint surface. So what do we mean by a standard cleaning solution?

Crossing the Red Sea - literally!

It is a delightful quirk of fate that Poussin's  Crossing of the Red Sea   has actually crossed the Red Sea - three times in fact.

Previous restorations

Has the   Crossing of the Red Sea   been restored before? Certainly. You could say that most Old Master paintings have been cleaned at least once during each century of their existence, so it is quite possible that our painting has been cleaned at least four times.

Do we know when and how it was cleaned? Not entirely. The thorough documentation of conservation treatments is a rather recent phenomenon. Only a handful of art museums around the world have concise records of treatments carried out before World War II, and many do not have much in the way of reporting before the 1960s. For works in private collections, conservation records have been almost non-existent.

The revelations of UV photography

As we draw closer to the cleaning of the  Crossing of the Red Sea   we turn our attention to UV photography. A quick glance at an image of the painting under ultraviolet light is enough for a conservator to learn some of the critical issues regarding its surface, especially the condition of the old varnish and the previous restorer's work.

A strategy for cleaning, Part 2

With testing out of the way it is now time to commence the varnish removal. It comes as a surprise to some people to learn that the cleaning can be a relatively quick part of the restoration process. With the   Crossing of the Red Sea   we have anticipated that the cleaning time required will take up only one month of the twelve we have set aside for the treatment, though that will be subject to revision if we encounter any unexpected problems.

A strategy for cleaning Part 1 - testing

With the documentation and examination of the painting now well underway, the time has approached to develop a strategy for cleaning the painting, that is, the removal of the discoloured varnish and restorer's overpaints. While every cleaning must follow the particular demands of each individual painting, the steps we will take for the   Crossing of the Red Sea   are typical for the treatment of many old master paintings.

X-raying the Poussin

Paintings have been examined by radiography ever since x-rays were first discovered by the German physicist Wilhelm Röntgen in 1895. Today, over a hundred and fifteen years later, there is still no more useful tool for the conservator than radiography because it can provide information about so many components of the painting. Other valuable examination tools, such as infrared imaging or microscopy tend to be more specific in their application.

Exodus 14

Moses stretching his hand out over the sea to close the water over Pharoah's men.  The "pillar of fire" is at the right edge of the painting.

Exodus 14 is the source text for Poussin's   Crossing of the Red Sea  . This highly cinematic passage of the Old Testament provides a wealth of details and scenes for narrative painters to draw on, and it is clear that Poussin studied it closely when he began devising his version.

Some changes in the painting

Because many paintings survive for generations some may think they are resistant to the effects of time. This is not so. Paintings age much like people, albeit at a slower rate. While they both might retain their essential features over time, their appearance changes markedly from their youthful prime. Certain parts change colour, wear out or fall away; overall shape changes, surfaces become worn and creased. Without constant maintenance both become increasingly fragile.

Pentimenti

Though we are rarely able to perceive it with our own eyes, paintings are always in a state of transition.  Scientific and technical analysis can enable us to understand how the materials used by the painter have aged over the years.  It can also shed light on the path of transition the painting took while Poussin was still at work on it: the alterations he made to parts of the picture to bring it to completion.

Getting started

No conservation treatment ever begins by getting straight into the physical act of cleaning or repairing the picture. It is always preceded by a phase of looking, learning and recording. These simple-sounding steps are some of the most important things a restorer needs to do to ensure a successful outcome to a treatment. They are also continuous from the beginning to the end of the job.

The amount of time needed before treatment can begin will depend on the amount of information available about the work and complexity of the problems the painting presents.

An introduction to the project

Welcome to the online conservation treatment diary for Nicolas Poussin’s   Crossing of the Red Sea  . This is the first instalment of a series of informal updates designed to keep the public informed about the restoration of one of the NGV’s most prized paintings.

The main aim of this diary is to provide you with the opportunity to look in on the many steps required to bring such a treatment to completion. Large scale conservation treatments can take months, sometimes even years. They require patience, discipline and planning. We hope the real-time release of news about this treatment while it is in progress will enable you to experience something of the journey the painting and the conservator take as the treatment unfolds.

What does the term “conservation treatment” mean? Broadly speaking, the treatment of paintings falls into two main categories: structural and superficial. Structural work involves the repair of components of the picture which can no longer properly serve their physical function, such as a canvas that is torn, a panel which is split, or paint layer which is flaking.

Superficial treatment concerns work to the surface of the painting, for example the removal of old varnish and restorer’s overpaints, the application of a new varnish, and the retouching of lost or worn areas of paint. Both structural and superficial treatments are time-consuming and demand a ongoing process of adjustment and decision-making to reach the best balance between the demands of the artwork and its material condition. The Poussin treatment will mainly involve surface work.
Any canvas painting as old as the Crossing of the Red Sea - which we know was painted around 1634 - is bound to have its share of conservation issues. Few paintings emerge unscathed even after a century. For that reason, and also on account of its size, a full year has been set aside to complete the restoration and return the painting to the Gallery walls.


This is the first time we have undertaken an informal online record of a major treatment like this, so it will undoubtedly take time for us to exploit this medium, but we shall try at the very least to accompany the written posts with photos and where possible, with audio-visual content.

We hope you enjoy the process!