Technical Bulletin Volume 19, 1998
The two paintings were in excellent condition, and one may well have Peyron's retouching over an original varnish. They may never have been cleaned before, and both had a similar varnish structure, and hence a long-term association. Though the supports differ, the layer structure and materials are very similar. Both were painted in partially heat-bodied linseed oil. Details of the varnish structure informed decisions on varnish removal (from one painting), consolidation, strip-lining and revarnishing.
artists' materials, Jean François Pierre Peyron, painting techniques, varnish
The Restoration of Peyron's 'Belisarius' and 'Cornelia', Larry Keith (text-only RTF 0.07MB)
To cite this article we suggest using
Keith, L. 'The Restoration of Peyron's "Belisarius" and "Cornelia"'. National Gallery Technical Bulletin Vol 19, pp 31–36.
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