25mc29-TE-2014_Turin, Galleria Sabauda, J. Robusti (Tintoretto), Portrait of Sebastiano Venier, inv. 442

Facilitated description: 

 

The portrait of Sebastiano Venier is a painting. 
The painting depicts Sebastiano Venier in armor. 
The painter Jacopo Robusti called Tintoretto painted the painting between 1560-1635. 
The painting is kept at the Galleria Sabauda in Turin. 
The La Venaria Reale Conservation and Restoration Centre restored the painting in 2014. 
The restorers have dismantled the painting from the frame (wooden structure that stands behind the painting and serves to support the painting). 
They fixed the frame by inserting metal parts to make it adjustable. 
They glued the parts of color that were peeling off.
They cleaned the painting and eliminated the yellowed paint and paintings from the old restoration.
The restorers filled the colorless parts with stucco (plaster and glue layer). 
They painted the painting to protect it from the sun's rays and dust. 
After the restorers cleaned the frame from dust. 
They put on the frame a substance against insects that eat wood. 
They filled the holes in the missing wood with putty. 
They rebuilt some wooden parts. 

 

 

 

 

Abstract of the intervention:

 

The canvas was the subject of conservation and restoration work on the occasion of the installation of the Galleria Sabauda at the new headquarters in the Manica Nuova of the Palazzo Reale in Turin (2014). The restoration was accompanied by a multispectral diagnostic campaign and photographic documentation to investigate some of the technical characteristics of the work.

Restoration

The intervention began with the disassembly from the frame and the removal of the perimeter wooden slats, which compromised the correct tensioning. The frame was then overhauled and metal extenders with adjustable expansion were inserted.
Localized infiltrations of adhesive and pressure input were then carried out to re-adhere the adhesion defects of the refilling canvas.
Subsequently, the surface deposits were removed from the back of the painting, from the frame and from the frame with brushes and micro-aspirators.
The cleaning of the pictorial surface, on the other hand, was carried out chemically and provided for the removal of the altered paint, retouching and overflowing restoration plastering.
The small gaps of the pictorial layers were filled with new grouting, then chromatically integrated with watercolor. For abrasions and old grouts, on the other hand, paint colors were used. Finally, a final protective was laid out. 
The frame has been treated with anti-moth and has been chemically cleaned from atmospheric deposits. They were followed by the stoppage of adhesion defects, the removal of inconsistent deposits from the surface, the plastering of the gaps, then integrated with Armenian bolus and gold and gold leaf in shell.
Finally, the missing wooden structure was reconstructed with epoxy resin (missing nose of the putto), the holes were filled by flickering of the verse and the support was covered with a film to avoid abrasion of the painting.