A conversation with conservator Valeriia Kravchenko

Valeriia, what were you doing before you became the Patrick Lindsay Conservation Fellow at the National Gallery?

I was trained as an easel paintings conservator in Ukraine, where I spent four years working in the field before coming to the UK in April 2022 and continuing my career. During this time, I worked primarily in the private sector, with one year spent at a small museum in my hometown of Dnipro.

Why did you apply to the Fellowship?

I have always aspired to work in a major cultural institution like the National Gallery, and the Patrick Lindsay Conservation Fellowship has given me that opportunity, thanks to Mr Patrick Lindsay’s legacy. It has marked a significant step forward in my career, allowing me to grow professionally while caring for world-renowned artworks. 

You’ve completed a year in your post – what have you achieved so far? 

I have undertaken three conservation projects, two of which are scheduled for completion next month. I have also had the opportunity to contribute to a colleague’s project, which has offered me further insight into collaborative approaches within the department.

What have some of the highlights been?

I have enjoyed collaborating with colleagues in the Scientific and Curatorial Departments on research projects that inform conservation treatments. Coming from Ukraine, where access to modern conservation tools is limited, I feel truly fortunate to be part of such a well-equipped and supportive institution. 

Is there a project you’ve worked on that stands out?

Working on The Virgin and Child with a Pomegranate, attributed to Sandro Botticelli’s Workshop (circa 1480–1500), was a particularly rewarding experience. The painting is executed in egg tempera, the medium that I closely studied for four years as a part of my icon painting course, which I completed before my conservation training. Egg tempera still holds a special place in my heart, so working on this painting felt deeply personal and meaningful. 

How did your experience with egg tempera come in handy during the course of this project? 

My experience with egg tempera was very helpful when I was asked to contribute to a video the Gallery is producing about this painting. I suggested creating a series of mock-ups to illustrate the different stages of making an egg tempera painting, to give the audience insight into how paintings are made. Creating the mock-ups helped me practice reconstructing the gilded pattern on the Virgin’s halo. This hands-on approach has allowed me to explore the most effective techniques and deepen my understanding of the original design, so I can carry out the final work with greater precision and confidence.

Do you usually create mock-ups as part of your role? 

While mock-ups aren’t usually a part of the conservation process, this video opportunity gave me a chance to share my personal experience and enrich public understanding of this painting, both from the conservation and artistic perspective. 

With my background in this technique, it was especially meaningful to share both technical insight and personal experience. Reconnecting with my painting roots through this project has been deeply rewarding. 

Had any conservation work be carried out on the painting before you worked on it?

Since the work entered the national collection in 1912, it has undergone structural treatment and some corrective retouching, though the varnish layer had remained untouched.

Did you need to remove the varnish layer of 'The Virgin and Child with a Pomegranate' to conserve it?

We did but before removing the varnish, we carried out a close investigation of the gilding under the microscope.  

Gilded areas are often the most fragile and, in this case, the gilded halos had been damaged and subsequently re-gilded. Our examination revealed that much of the Virgin’s halo had been reconstructed. A cross-section confirmed that the original gilding and the later reconstruction were separated by a varnish layer, meaning we could safely remove the shell gold overpaint and preserve the original surface. We were able to see the original pattern under UV light, which allowed us to plan a more accurate reconstruction. 

Infrared imaging also revealed numerous changes to the final appearance of the painting, offering further insight into its complex history and creation process. 

What did you find after removing the varnish?

Removing the varnish uncovered the original colours of the painting. The results were striking, most notably in the Virgin Mary’s blue drapery, which had appeared greenish beneath the thick, yellowed varnish.

Where is the painting now that you've worked on it?

The painting is now ready for retouching and is scheduled to go on display shortly in the Sainsbury Wing.  

I am deeply grateful for this opportunity and look forward to continuing my journey in the second year of the Patrick Lindsay Conservation Fellowship, thanks to this generous legacy gift. 

The Patrick Lindsay Conservation Fellowship is a 22-month post which gives early career conservators the rare opportunity to gain high-level practical experience. It was established in 2012 thanks to a legacy gift from Mr Patrick Lindsay, who began his career as a picture restorer at the National Gallery.