39th Annual Meeting – Paintings Session, June 2, 2011, “Giovanni Antonio Boltraffio’s Madonna and Child in the context of Leonardo da Vinci’s Studio Practice” by Sue Ann Chui

Ms. Chui presented a truly gorgeous Renaissance painting that came from the Budapest Museum of Fine Arts to the J. Paul Getty Museum for a collaborative research and conservation project. Immediately it was clear that the style was recognizable as influenced by Leonardo da Vinci. This was probably the reason for the misattribution in the 18th century and earlier. With an array of beautiful photography comparing various paintings art historically, the very convincing case was made for the current attribution to Giovanni Antonio Boltraffio, a student of Leonardo in his workshop in Milan at the turn of the 16th century.

 

Mother and Child by Giovanni Antonio Boltraffio
BC: Giovanni Antonio Boltraffio (Italian, 1467 - 1516) Madonna and Child, about 1508 Italian Oil on panel Szépmüvészeti Múzeum
Previous restoration of cradling
Before Conservation: Back of Panel, Giovanni Antonio Boltraffio (Italian, 1467 - 1516), Madonna and Child, about 1508 Italian Oil on panel, Szépmüvészeti Múzeum

 

Extensively but not expertly previously restored, Ms. Chui unraveled the condition of the panel painting layer by layer with excellent documentation from the international team that worked on this project. Each layer of discovery added further proof to Boltraffio’s authorship.

 

In fact, it seemed to me that the research and documentation discovery process on this painting must add to the collective knowledge on Leonardo’s techniques and teachings. Adding to that body of knowledge is always an exciting prospect. It was wonderful to see the evidence that Ms. Chui presented of the master’s hand in the manufacturing process and the design work. Specifically, I found the discussion on original fingerprints left behind in the imprimatura layers interesting, though no conclusion was insinuated that they were definitely by Leonardo.

 

While none of the conservation treatments were innovative, they were most interesting, well photographed and pleasantly presented. As you might expect, the quality of the conservation work resulted in maximizing the original beauty of a truly unique and beautiful image of this holy mother and child. It made for excellent technical entertainment much the way I found myself eagerly awaiting, back in the day, the arrival of the latest National Gallery Bulletin. Detailed, colorful cross sections, exceptional and easy to understand diagrams to clarify, photographic references and ties to other works of art and the fluid manner of Ms. Chui made this a 1st class presentation.

 

After Conservation, Mother and Child, Boltraffio
After Conservation: Giovanni Antonio Boltraffio (Italian, 1467 - 1516), Madonna and Child, about 1508 Italian Oil on panel, Szépmüvészeti Múzeum
After conservation, verso, Boltraffio
After Conservation: Checkerboard pattern "stains" from removed cradling, note interesting support system, Giovanni Antonio Boltraffio (Italian, 1467 - 1516), Madonna and Child, about 1508 Italian Oil on panel, Szépmüvészeti Múzeum

 

If you missed this presentation, then I’m sorry but it is impossible to do the material presented justice in this blog post. We can only hope that Ms. Chui publishes her material accompanied by all of the slides of her powerpoint (doubtful). Visually, it’s a great presentation but, in addition, the info needs to be searchable and referenced by others.

 

Contact Ms. Sue Ann Chui at schui@getty.edu and (310) 440 7023

 

Express yourself and reach out: “Like” this article by clicking on the thumbs up below, refer this posting to others you connect with via Facebook, Twitter etc.

 

Scott M. Haskins

Fine Art Conservation Laboratories (FACL, Inc.)

www.fineartconservationlab.com

best_artdoc@yahoo.com

(805) 564 3438

 

 

39th Annual Meeting – Paintings Session, June 2, 2011, “A Neoclassical Mystery: The Technical Study and Treatment of an Iconic French Portrait” by Kristin deGhetaldi

There were three very interesting aspects of this presentation if you love the quality of high society French painting between 1775 – 1825… or there abouts:

 

First, Kristin gave a very nice art historical review of Jacques Louis David’s studio culture and influence, which included more than 400 students that studied directly with the master. She gave some really interesting comparisons between the styles of some of the students and David but ended up focusing on the work of a female student, Marie Benoist.

 

Second, Kristin focused on Marie Benoist as she presented the very interesting technical and historical study of a very intriguing “iconic” female portrait that was previously misattributed/unattributed and is logically attributable to Benoist, according to deGhetaldi’s research. Actually, I personally liked the portrait better than the David and other portraits that were shown for it’s interesting positioning and thoughtful mood. Flat out, it’s a great picture.

 

Third, the thorough conservation treatments of the portrait were interesting but not unusual. At the beginning of Kristin’s presentation of the portrait, I was hoping that she was going to let us see the differences through cleaning. I was not disappointed as the final conservation presentation and aesthetics were wonderful.

Portrait by Marie Benoist
The "Iconic French Portrait"

 

The plentiful photographs, of course, made Kristin’s presentation that much more enjoyable. And the thorough technical analysis with documentary microscopic studies of greens particular to that time period and location that will aid future researchers in authentication clues.

 

Contact Ms. Kirstin deGhetaldi at k-deghetaldi@nga.gov

 

Express yourself and reach out: “Like” this article by clicking on the thumbs up below, refer this posting to others you connect with via Facebook, Twitter etc.

 

Scott M. Haskins

Fine Art Conservation Laboratories (FACL, Inc.)

www.fineartconservationlab.com

best_artdoc@yahoo.com

(805) 564 3438