Leseprobe

68 impression is coarser. The fine, graceful facial expres- sion seen in the final version was only created during the painting process. We can identify a small change in the curvature of the string of pearls on the right side of the neck and shoulder and a correction was also made to the form of the fan. The lead-white underpainting in the dress was ex- ecuted with extreme ease and does not make it pos- sible to recognize much of the later, distinct construc- tion of the folds. The dress is only developed into its final form through the use of multiple dark-gray pas- sages of various intensities. Important to note is how the artist allows the lighter warm-grey tone of the ground to shine through the layers which define the dress and enhance the impression of depth, form and surface quality. The same process/approach applies to the left hand reaching into the robe’s skirt. Abra- sion, from previous cleaning attempts, is quite appar- ent in the face, where the application of lead white is correspondingly thinner. Here the tips of the canvas weave have become exposed. Damage of varying degrees, in the form of tears within the canvas, loose paint, abrasion and solvent damage are noticeable over the entire surface of the painting. There is a significant concentration of dam- age within the lower portion of the sitter’s dress. (ill. 6). Preliminary microscopic investigations and analysis of the cross sections The flesh tone areas As previously mentioned, solvent damage from over-zealous cleaning attempts have left much of the paint film abraded, particularly at the tips of the can- vas weave. Investigation of the paint cross-sections reveals how indistinct the borders are between the individual paint layer applications. In fact, the paint film(s) (as a whole) appear to be mixed into one-an- other, as it is possible to find paint material from/ or close to the surface /within the lower area of the paint strata. This could suggest a migration of paint material 10 through excessive exposure to solvents. In addition, one should note the extensive use of over-glazing to tone down the strong abrasion within the flesh tone. (ill. 7). Ill. 5 Sample window with partial removal of the varnish and overpainting Ill. 6 Large damage within the dress with remains of earlier reconstructions of the folds Ill. 7 Condition during the removal of the varnish and overpainting within the face. Remnants of the background overpainting below the chin and neck