{"id":286,"date":"2025-04-09T03:23:35","date_gmt":"2025-04-09T03:23:35","guid":{"rendered":"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/?page_id=286"},"modified":"2026-03-21T01:41:18","modified_gmt":"2026-03-21T01:41:18","slug":"a-history-of-a-painting-working-with-the-artist-to-plan-a-respectful-intervention","status":"publish","type":"page","link":"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/a-history-of-a-painting-working-with-the-artist-to-plan-a-respectful-intervention\/","title":{"rendered":"A History of a Painting: Working with the Artist to Plan a Respectful Intervention"},"content":{"rendered":"\n
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A History of a Painting: Working with the Artist to Plan a Respectful Intervention<\/h4>\n\n\n\n

Luciana Murcia<\/p>\n\n\n\n

Contemporary Art Review, Volume 3 (2023)<\/p>\n\n\n\n

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Download Article (PDF, 44MB)<\/a><\/div>\n<\/div>\n<\/div>\n\n\n\n
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Historia de una pintura: trabajar con el artista para planificar una intervenci\u00f3n respetuosa<\/h4>\n\n\n\n

Luciana Murcia<\/p>\n\n\n\n

Contemporary Art Review, Volumen 3 (2023)<\/p>\n\n\n\n

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DESCARGAR ART\u00cdCULO (PDF, 44MB)<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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Keywords<\/h5>\n\n\n\n

painting conservation, contemporary art, artist interview, mixed media, collaboration, teamwork<\/p>\n\n\n\n

Abstract<\/h5>\n\n\n\n

The painting Invitaci\u00f3n al infierno <\/em>(Invitation to Hell<\/em>) by Argentine artist Luis Felipe No\u00e9, was created in 1961 for the first exhibition of the New Figuration movement in Buenos Aires. It is emblematic because it reflects the artist\u2019s technique at the time, which stands out for its combination of traditional media, such as oil paint, with synthetic and asphaltum paint.<\/p>\n\n\n\n

After its creation, the painting was removed from its stretcher and rolled up to travel with No\u00e9 to Paris, where it remained in a friend\u2019s studio for years. In 1976, following the political turmoil in Argentina, the artist returned to Paris and reunited with the artwork, which again stayed rolled up until he brought it back to Argentina in 1987, after the end of military rule. When it was finally unrolled after twenty-seven years, it revealed significant deterioration, with paint layers adhered to the back of the canvas, causing serious deformities and large areas of missing paint. The mixed techniques used, including slow-drying materials and heavy textures, had altered the work irreversibly. By the end of 2020, as the need for restoration arose amid the COVID-19 pandemic and global lockdown, the interven\u00adtion began, with close collaboration from No\u00e9, whose expertise was crucial in navigating the complexities of the painting\u2019s condition and guiding the restoration process.<\/p>\n\n\n\n

This article describes this joint effort to carry out a respectful intervention that preserves the piece as it was originally created without erasing the traces of its history. It also attempts to highlight the role of the artist through the investigation of a work\u2019s conservation, as well as to highlight the invaluable contribution to the conservation of Argentine art from the 1960s.<\/p>\n<\/div>\n\n\n\n

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Palabras Clave<\/h5>\n\n\n\n

conservaci\u00f3n de pinturas, arte contempor\u00e1\u00adneo, entrevista a artistas, t\u00e9cnica mixta, colaboraci\u00f3n, trabajo en equipo<\/p>\n\n\n\n

Resumen<\/h5>\n\n\n\n

La pintura Invitaci\u00f3n al infierno<\/em> del artista argentino Luis Felipe No\u00e9, fue creada en 1961 para la primera exposici\u00f3n del movimiento Nueva Figuraci\u00f3n en Bue\u00adnos Aires. Es emblem\u00e1tica porque refleja la t\u00e9cnica del artista en ese momento, que se destaca por la com\u00adbinaci\u00f3n de medios tradicionales, como el \u00f3leo, con pintura sint\u00e9tica y asf\u00e1ltica. Despu\u00e9s de su creaci\u00f3n, el cuadro fue sacado del bastidor y enrollado para viajar con No\u00e9 a Par\u00eds, donde permaneci\u00f3 en el estudio de un amigo durante a\u00f1os. En 1976, tras la agitaci\u00f3n pol\u00edtica en Argentina, el artista regres\u00f3 a Par\u00eds y se reencontr\u00f3 con la obra, que volvi\u00f3 a permanecer enrollada hasta que la trajo de vuelta a Argentina en 1987, tras el fin del r\u00e9gimen militar. Cuando finalmente se desenroll\u00f3 despu\u00e9s de veintisiete a\u00f1os, revel\u00f3 un deterioro sig\u00adnificativo, con capas de pintura adheridas al reverso del lienzo, causando graves deformaciones y grandes \u00e1reas de pintura faltante. Las t\u00e9cnicas mixtas utilizadas, incluidos materiales de secado lento y texturas pesadas, hab\u00edan alterado la obra de manera irreversible. A finales de 2020, cuando surgi\u00f3 la necesidad de restauraci\u00f3n en medio de la pandemia de COVID-19 y el confinamiento mundial, comenz\u00f3 la intervenci\u00f3n con la estrecha colaboraci\u00f3n de No\u00e9, cuya experiencia fue crucial para abordar las complejidades de la condici\u00f3n de la pintura y guiar el proceso de restauraci\u00f3n. En este art\u00edculo se describe este esfuerzo conjunto por realizar una inter\u00advenci\u00f3n respetuosa que preserve la pieza tal como fue creada originalmente sin borrar las huellas de su histo\u00adria. Tambi\u00e9n se intenta destacar el rol del artista a trav\u00e9s de la investigaci\u00f3n de la conservaci\u00f3n de una obra, as\u00ed como destacar el invaluable aporte a la conservaci\u00f3n del arte argentino de la d\u00e9cada de 1960.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Citation<\/h5>\n\n\n\n

Murcia, Luciana. 2025. \u201cA History of a Painting: Working with the Artist to Plan a Respectful Intervention \/ Historia de una pintura: traba\u00adjar con el artista para planificar una intervenci\u00f3n respetuosa.\u201d In Contemporary Art Review, Vol. 3. <\/em>Edited by Jessica Walthew, Gabrielle Crowther, and Austin Anderson. Washington, DC: AIC. 14\u201329.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

A History of a Painting: Working with the Artist to Plan a Respectful Intervention Luciana Murcia Contemporary Art Review, Volume 3 (2023) Historia de una pintura: trabajar con el artista para planificar una intervenci\u00f3n respetuosa Luciana Murcia Contemporary Art Review, Volumen 3 (2023) Keywords painting conservation, contemporary art, artist interview, mixed media, collaboration, teamwork Abstract […]<\/p>\n","protected":false},"author":349,"featured_media":282,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-286","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/wp-json\/wp\/v2\/pages\/286","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/wp-json\/wp\/v2\/users\/349"}],"replies":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/wp-json\/wp\/v2\/comments?post=286"}],"version-history":[{"count":0,"href":"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/wp-json\/wp\/v2\/pages\/286\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/wp-json\/wp\/v2\/media\/282"}],"wp:attachment":[{"href":"https:\/\/resources.culturalheritage.org\/contemporaryartreview\/wp-json\/wp\/v2\/media?parent=286"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}