22-mc02-TE-2012_Moncalieri, Castello, P. Sassi, Pianura del Monferrato, inv. SM 235

Facilitated description:

 

Pianura del Monferrato is a painting on canvas. 
Pietro Sassi painted the painting in 1868. 
The painting represents a country landscape.
The painting is kept at the Castle of Moncalieri. 
The La Venaria Reale Conservation and Restoration Centre restored the painting in 2012. 
Scientists did scientific analysis to study how the painting was made. 
The restorers have dismantled the painting from the frame (wooden structure that stands behind the painting and serves to support the painting). 
They replaced the central wooden axis of the frame. 
They reinforced the damaged canvas parts. 
They cleaned up behind the painting 
They repaired the unwrapped canvas parts. 
They mounted the painting on the frame. 
After the restorers cleaned in front of the painting. 
They filled the colorless parts with putty (plaster and glue layer). 
They painted the putty. 
In the end they cleaned the frame of the dust. 
They filled the missing wooden parts with putty. 
They gilded the putty with watercolors and powdered gold. 

 

 

 

 

Abstract of the intervention: 

 

Restoration

The restoration was preceded by a multispectral analysis campaign in order to obtain information on the state of conservation and the execution technique of the work. 

The intervention on the painting Monferrato Plain inv. SM 235 started with a velinatura with Japanese paper and synthetic adhesive to secure the defects of the pictorial film in view of the movement and structural intervention. The canvas was then disassembled from the frame and the support subjected to consolidation and rectification of the angular joints. The central crossbar was then replaced and a spacer strip was inserted at the perimeter to avoid contact between canvas and rulers. The verse was cleaned of atmospheric particulate deposits by micro-suction and mechanical action. We then proceeded with the application of acrylic, thermoplastic adhesive and then the flattening of the canvas by placing it in a low-pressure table. The lacerations of the canvas have been restored by reconstructing the scanning of the weaving between the threads still present, perimeter bands have been applied to allow re-tensioning on the new frame and the canvas has been re-tensioned on the frame with point constraints (galvanized industrial invoice saddles). 
On the pictorial film, atmospheric particulate deposits and consistent fat sedimentation were simply removed, since the yellowing is due to the natural ageing of the building materials. Subsequently the gaps were grouted, the surface was chromatically integrated with non-differentiated color veils and painted with protective. Finally, the frame has been cleaned, the detachments have been localised with acrylic resin, the gaps have been grouted and the painting has been integrated with watercolour and shell gold colours in the most opaque areas.