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113mc02-TE-2021_Caravino, Castello di Masino (FAI), Portrait of King Arduino, inv. SBAS TO 1594
Caravino, Castello di Masino (FAI), Portrait of King Arduino, inv. SBAS TO 1594 - before restoration
Caravino, Castello di Masino (FAI), Portrait of King Arduino, inv. SBAS TO 1594, verso - before restoration
Caravino, Castello di Masino (FAI), Portrait of King Arduino, inv. SBAS TO 1594 - Infrared in false color (850 nm)
Caravino, Castello di Masino (FAI), Portrait of King Arduino, inv. SBAS TO 1594 - infrared (850 nm)
Caravino, Castello di Masino (FAI), Portrait of King Arduino, inv. SBAS TO 1594 - digital X-ray
Caravino, Castello di Masino (FAI), Portrait of King Arduino, inv. SBAS TO 1594 - UV analysis
113mc02-TE-2021_Arduino
Intervention project

113mc02-TE-2021_Caravino, Castello di Masino (FAI), Portrait of King Arduino, inv. SBAS TO 1594



Facilitated description:

 

The portrait of King Arduino is a painting on canvas made in the early 1600s.
The painting is kept at the Castle of Masino in Caravino. 
The Castle of Masino is an asset of the Italian Environment Fund. 
The La Venaria Reale Conservation and Restoration Centre restored the painting in 2021. 
The restorers planned the restoration.
They replaced the frame (wooden structure that stands behind the painting and serves to support the painting). 
They eliminated the folds of the painting. 
They cleaned the painting of the dust and glued the parts of color that were peeling off. 
They filled the colorless parts with putty (plaster and glue layer). 
They colored the putty with watercolors. 
Eventually they cleaned the frame and rebuilt some missing wooden parts.

 

 


 

Abstract of the intervention: 

 

Restoration

The restoration of the Portrait of King Arduin, which is kept at the Castello di Masino, was part of a project that involved the study and maintenance of several paintings in the gallery. The intervention project provided for the replacement of the frame and the revision of the tensioning of the work. At the level of support, the elimination of deposits, over-mixed substances, deformations and loosening by means of humidification has also been planned. The intervention project provided for the consolidation of the decoese parts and compensation for cuts and lacerations. As far as the pictorial film is concerned, plans have been made to eliminate deposits and overburdened substances, to stop dead-expressions and to remove degraded products unrelated to the work. In addition, the aesthetic presentation was designed to reconstruct the chromatic fabric and reduce visual interference of leaks (preliminary painting, filling of gaps, pictorial reintegration with watercolor and paint colors). On the frame it was planned a maintenance intervention and the reconstruction in stucco of the missing part.