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21mc004-TE-2008_Turin, Galleria Sabauda, P.P. Rubens, Hercules in the Garden of the Hesperides, inv. 1059
Graphic mapping
Graphic mapping
Graphic mapping
Restoration sheet
Technical Report on Multispectral Investigations
Technical report scientific investigations - XRF fluorescence
Technical Report Scientific Investigations - Stratigraphic Investigations OM, SEM-EDX
Sampling sheet
Detection data sheet

21mc004-TE-2008_Turin, Galleria Sabauda, P.P. Rubens, Hercules in the Garden of the Hesperides, inv. 1059



Facilitated description: 

 

Hercules in the Garden of the Hesperides is a painting on canvas.
The painter Paul Rubens painted the painting in the early 1600s.
The painting is kept at the Galleria Sabauda in Turin.
The restorers of the La Venaria Reale Conservation and Restoration Centre restored the painting in 2008.
The restorers saw that the lining (reinforcement canvas behind the painting) was in good condition.
The restorers cleaned up behind the painting.
Then they cleaned the front of the painting: They eliminated the yellowed paint and some of the paintings from an old restoration.
They have arranged the edges of the old plastering (layer of plaster and glue that serves to fill the color gaps).
They filled the color gaps with watercolors and paint colors.
Eventually they painted the painting to protect it from the sun's rays and dust.

 

 

 

 

Abstract of the intervention:

 

Restoration

In agreement with the Works Department, it was decided not to intervene on the support, leaving intact the existing lining, which is in good conservation condition. The restoration of the painting has therefore provided for the cleaning of the back with vacuum cleaner and wishab rubber. The most ideoneo material was then selected for the cleaning intended for the removal of the altered paint and the most recent touch-ups. Instead, the oldest pictorial reintegrations have been maintained. The painting was then painted with aliphatic resin. Subsequently, the pre-existing groutings were revised, intervening with the improvement of the surface and removing the edges that overlapped the original color. We then proceeded to the pictorial reintegration with watercolor colors and finishing with paint colors. In addition, in the areas affected by abrasions of the pictorial film, caused by the leaching of aggressive substances, a slight veiling with watercolor colors was made. Finally, a final painting was done.

Bibliography

- C. E. Spantigati, Sheet 5.4 in De Van Dyck in Bellotto. Splendeurs à la cour de Savoie, C. E. Spantigati, P. Astrua, A. M. Bava, S. Damiano, Torino, Allemandi, 2009, pp. 149-152.