{"id":593,"date":"2025-01-17T15:52:00","date_gmt":"2025-01-17T14:52:00","guid":{"rendered":"https:\/\/www.restful.cz\/?p=593"},"modified":"2026-09-02T19:39:11","modified_gmt":"2026-09-02T17:39:11","slug":"the-four-latin-fathers-of-the-church-unknown","status":"publish","type":"post","link":"https:\/\/www.restful.cz\/cs\/the-four-latin-fathers-of-the-church-unknown\/","title":{"rendered":"\u010cty\u0159i praotcov\u00e9 v\u00edry"},"content":{"rendered":"

Nezn\u00e1m\u00fd autor<\/h2>\n\n\n\n
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Technika:<\/strong> olejomalba na pl\u00e1tn\u011b
Rozm\u011bry:<\/strong> 101,5 cm x 86,4 cm
Datace:<\/strong> Baroque period ?<\/p>\n\n\n\n

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Stav d\u00edla p\u0159ed restaurov\u00e1n\u00edm<\/strong><\/h2>\n\n\n\n

The painting was covered with a thick layer of grime and dirt, trapped within layers of discoloured varnish. Secondary old retouchings extend beyond the original areas of damage, over original paint, constituting approximately 30% of the overall paint layer. These retouchings are inappropriate in execution, adjusted to match the tonality of the aged, darkened varnish rather than the original paint. Locally, the overpainted areas lack the ground layer entirely. Both the overpaint and retouching are oil-based, significantly complicating their removal. The painting had also previously been damaged by aggressive cleaning, resulting in the loss of the upper glaze layers.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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Stav d\u00edla po restaurov\u00e1n\u00ed<\/strong><\/h2>\n\n\n\n

Surface dirt was removed using dry-cleaning methods. Small tears in the canvas were mended. Solubility tests were carried out on the degraded varnish and surface dirt, followed by removal of the degraded varnish layer. Further solubility tests were conducted on the resistant overpaint and dark retouchings, which were then removed, along with the old secondary overpaint and retouching. Old fills were reviewed, and the ground was re-filled where necessary. Losses were retouched, along with areas of the original paint layer that had been damaged in the past by inadequate cleaning.<\/p>\n\n\n\n

The dove in the upper central portion of the scene was reconstructed, along with its attributes, based on reference material identified showing an identical composition by Jacob Jordaens. This may represent either a preparatory sketch by the artist himself or a free copy of the composition by another hand. A final varnish layer was applied. <\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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