7mc15-TE-2011_Venaria, Royal Palace, Portrait of Philip I, inv. 5510 (owner of Moncalieri Castle)

Facilitated description: 

 

The portrait of Philip I (first) is a painting on canvas made during the 1600s. 
The painting is kept at the Reggia di Venaria. 
The La Venaria Reale Conservation and Restoration Centre restored the painting in 2011.
The restorers stopped the parts of color that were peeling off. 
They cleaned the painting of dust. 
They reinforced the damaged canvas parts. 
They removed the folds from the canvas. 
They put strips of canvas along the edges to fix the painting to the frame (wooden structure that stands behind the painting and serves to support the painting). 
After the restorers cleaned the painting.
They have eliminated the yellowed paint and the paintings of the old restorations. 
They filled the color gaps with a layer of putty (plaster and glue). 
They painted the putty with paint. 
Eventually they painted the painting to protect it from the sun's rays and dust. 

 

 

 

 

Abstract of the intervention: 

 

Restoration

The painting, owned by the Castle of Moncalieri was granted on loan to the Reggia di Venaria to be exhibited in the permanent visit path. The work is part of a group of 15 canvases depicting foreign rulers.
The operations provided for the safety of the works and the improvement of aesthetic legibility. The localized stoppage of the raised pictorial film flakes, the removal of temporary tissue, the aspiration of incoherent deposits of atmospheric particulate from the recto and verso and the removal of coherent particulate deposits from the protective layer were then performed. The work was then released from the frame to facilitate cleaning. Subsequently, consolidations of the textile support were carried out, flatness was recovered and definitive perimeter strips were applied. Moreover, given the poor state of conservation of the work, interventions were carried out against the pictorial film, in particular the removal of the paint and the altered retouching were carried out and the gaps in the pictorial material were stuccoed. The work was then painted, integrated with paint colors and protected with a further final painting.