59mc03-DG-2008_Turin, Galleria Sabauda, J. Da Ponte (Bassano), The big market, 432

Facilitated description: 
 

The big market is a big painting on canvas. 
The painter Jacopo da Ponte called Bassano painted the painting around 1580-1585. 
The painting is kept at the Galleria Sabauda in Turin. 
Scientists at the Venaria Center did scientific analysis of the painting in 2008. 
In 2008 the painting was transported to the Venaria workshops along with other paintings by Venetian artists.
The paintings were transported to Venaria during the move of the Savoy Gallery to the new location. 
The scientists did analyses with different types of lighting. 
Scientists have seen many repaintings done during restorations of the past and many parts that had lost the painting.
Scientists studied the colors used by the artist.
They studied the upper part of the painting where there is a strip of canvas added in later years to enlarge the painting. 
Thanks to digital radiography, some different settings emerged compared to the first phase of the painting (different dimensions of the plate and the cambella on the table; different setting of the man's red hat on the left). 

 

 

 

 

Abstract of the intervention: 

 

Scientific Analysis

The painting The large market 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 the restoration of two canvases (The Sabine Rat by Francesco da Ponte and Queen of Sheba offers gifts to Solomon Veronese) 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).
On the painting, in addition to shooting in grazing light, multispectral analyses were carried out (black and white infrared, false-color infrared, ultraviolet fluorescence, digital radiography). 
The black and white infrared did not highlight the presence of drawing, but some touch-ups (horizontal seam area and the side of the cow). In addition, it revealed the presence of strong abrasions. 
Infrared in false-color allowed the identification of the pictorial palette used by the artist, in particular made evident the widening strip at the top of the painting. 
The analysis in ultraviolet fluorescence, on the other hand, made it possible to observe the strong inhomogeneity of the paint and the presence of touch-ups from different eras. 
Finally, the radiographic analysis made it possible to detect some regrets (different sizes of the plate and the cambella on the table; different setting of the man's red hat on the left). 

 

Bibliography

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.