59mc05-TE-2008_Turin, Galleria Sabauda, F. Dal Ponte (Bassano), Il ratto delle Sabine, cat. 560

Facilitated description: 

 

The Sabine Rat is a large painting on canvas. 
The painter Francesco Dal Ponte called Bassano made the painting towards the end of 1500. 
The painting is kept at the Galleria Sabauda in Turin. 
The La Venaria Reale Conservation and Restoration Centre restored the painting in 2008. 
Scientists at the Venaria Center did scientific analysis to study how the dipito was made. 
The restorers cleaned behind the painting and replaced the reinforced canvas parts behind the painting. 
They removed the folds from the painting. 
They reinforced the damaged canvas parts. 
After the restorers cleaned the front of the painting from dust and yellowed paint. 
They have eliminated the restoration interventions of the past such as unsuitable grouting (plaster and glue layer that serves to cover the lacks of painting) and the ruined painted parts.
They filled the color gaps with putty (plaster and glue layer). 
They painted the stucco with watercolors. 
Eventually they painted the painting to protect it from the sun's rays and dust. 

 

 

 

 

Abstract of the intervention: 

 

The painting The Sabine Rat was part of a diasgnostic campaign carried out on 6 works by Venetian masters belonging to the Galleria Sabauda. The paintings, in fact, were in the laboratories of the Conservation and Restoration Center "La Venaria Reale" waiting to be transferred to the New Sleeve of Palazzo Reale, the new headquarters of the Savoy Gallery. The results of the diagnostic campaign and restoration were presented during the exhibition The Veronese and the Bassano. Great Venetian artists for the Doge's Palace in Turin (Reggia di Venaria, 12 October 2013 - 2 February 2014).

Restoration

The restoration was preceded by scientific analyses aimed at investigating the conservative framework and the executive technique. In particular, radiographic and infrared investigations have revealed jet drafting and a design setting for large rounded masses. 
The intervention began with a dusting of the verso and the removal of the auxiliary textile supports of the canvas, replaced with new supports. Subsequently, the deformations on the support were smoothed out, the textile fibres were consolidated and the deadese portions were re-adhesive with a synthetic adhesive.
The paint film was chemically cleaned of the surface, after removing the incoherent deposits of atmospheric particulate matter using soft bristle brushes and micro-aspirators. The most recent yellowed paint layer was then thinned, resinous materials and residues of a heterogeneous nature were removed. Subsequently, overflowing grouting, oily retouching, oxidized protein materials and extensive repainting on the sky were eliminated. We then proceeded with the integration of the gaps of preparation and pictorial film by plastering and chromatic integration of the parts. Finally, the pictorial integration with paint colors was finished and a final protective varnish was sprayed. 

The restoration of the work continued and was completed in 2012.

 

Bibliography

- S. De Balsi, M. Ferrero, Maintenance and restoration from the Palace to the Museum for the collection of the great Venetian paintings of the Savoy Gallery, in The Veronese and the Bassano. Great Venetian artists for the Doge's Palace in Turin (catalogue), edited by A. M. Bava, L'artistica, Savigliano, 2013, pp 66-73. 
- M. Cardinali, P. Buscaglia, M. C. Canepa, V. Parlato, The conservation and restoration interventions, in The Veronese and the Bassano. Great Venetian artists for the Doge's Palace in Turin (catalogue), edited by A. M. Bava, L'artistica, Savigliano, 2013, pp 80-87.