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!