19-TE-2009_Venaria Reale, Reggia, G. Panealbo (attr.), Portrait of Vittorio Amedeo III in majesty, inv. R. 6472 (property of Racconigi Castle)

Facilitated description: 

 

The portrait of Vittorio Amedeo III (third) is a painting on canvas. 
The painter Giovanni Panealbo painted the painting during the 1700s. 
The painting is kept at the Reggia di Venaria. 
The La Venaria Reale Conservation and Restoration Centre restored the painting in 2009.
The restorers cleaned up behind the painting.
They fixed the tears on the canvas.
They replaced the frame (wooden structure that stands behind the painting and serves to support the painting). 
They mounted a reinforcement canvas behind the painting. 
Then they cleaned the front of the painting. 
They have eliminated the yellowed paint and the paintings of the old restorations. 
They filled the color gaps with putty (white layer of plaster and glue).
They painted the putty.
The restorers painted the painting to protect it from the sun's rays and dust. 
In the end they cleaned and reinforced the frame. 
They painted the frame to protect it from the sun's rays and dust.

 

 

 

 

Abstract of the intervention:

 

The painting, owned by the Castello di Racconigi (Residenze Royali Sabaude - Regional Directorate of Piedmont National Museums), was granted to the Reggia di Venaria to be exhibited in the permanent visit path.

Restoration

The intervention on the painting provided for the replacement of the frame with an expansion load-bearing structure. Incoherent atmospheric deposits and organic sedimentation, patches, perimeter bands and glue residues have been removed from the textile support. In addition, a consolidation was carried out from the back with glue activated on the table at low pressure. The small tears were compensated with linen cloth inserts and a polyester cloth was applied to reinforce the fragile original support.
Selective cleaning was carried out on the pictorial film, based on the identification of the areas affected by repainting and superimposed paints thanks to the vision with ultraviolet fluorescence. The yellowed protective was then thinned and the repaintings were removed. It was followed by the consolidation by velinatura and the use of the table at low pressure. Subsequently the gaps were grouted and chromatically integrated and the pictorial re-itegration of the repaintings not removed with varnish veils was performed. Finally, a layer of paint was applied for protective purposes. 
The frame has been subjected to consolidation and cleaning (removal of dust deposits and altered protective). Finally, the gaps were grouted and pictorially integrated and a protective varnish was applied.