21mc026-TE-2008_Turin, Galleria Sabauda, M. G. B. Clementi, Carlo Emanuele III, inv. 108, cat. 6

Facilitated description: 

 

Carlo Emanuele III is a painting made by the painter Maria Giovanna Battista Clementi, called la Clementina, in 1734.
The painting represents King Charles Emmanuel III. 
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 cleaned the frame (wooden structure that stands behind the painting and serves to support the painting).
They eliminated the creases in the corners of the canvas.
They put on the frame a product against insects that eat wood. 
They have eliminated the old grouting (layer of plaster and glue that serves to cover the lack of color). They made new grouts. 
They painted the grouts. 
They painted the painting to protect it from the sun's rays and dust. 
Then they cleaned the frame of the dust. 
They filled the wooden gaps with stucco (plaster and glue). 
They gilded the stucco and painted the frame. 

 

 

 

 

Abstract of the intervention: 

 

Restoration

The restoration of the painting began with the removal of atmospheric particulate deposits from the support and back of the painting. In addition, with the help of moisture and heat, two deformities were remedied at the upper and lower right corners, while a slight expansion of the frame optimised the tensioning of the support. A synthetic resin was then applied to the entire surface to protect against temperature and humidity changes and a moth protection.
On the pictorial film a cleaning was carried out that highlighted the previous restoration interventions. In agreement with the Directorate of Works, it was decided to remove the unsuitable grouting and to smooth the emerging ones. We then proceeded to the creation of new plastering and camouflage integration with the laying of chromatic bases and with hatching for the central part in correspondence with the figure. Finally, the pictorial integration was carried out with paint colours for and a protective varnish was sprayed, which helped to eliminate the contrasts between glossy and opaque areas.

 

Frame
In agreement with the Works Department, solvent cleaning and local consolidation of fragile areas were carried out. Subsequently, the plastering was carried out with rabbit glue and Bologna plaster and the bolus was laid with a colour similar to the original. Finally, gouache gilding, chromatic integrations with watercolors were carried out and a final painting was applied.

 

Bibliography

- S. Daminano, Sheet 1.10 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, p. 91.