August 24, 2004

After the cleaning is completed, David and Joan tone the remaining white fill material a reddish-brown color.

Using watercolor medium, the toning is done to match the original color of the ground layer or imprimatura.

August 24, 2004

At the end of the day, the museum art crew moves the Guercino to the large spray booth in the Midwest Art Conservation Center's labs, located within the museum proper. There, the painting will be varnished.

The painting will return to the gallery on Thursday, August 26.

August 25, 2004

Once in the laboratory of the Midwest Art Conservation Center (housed in the museum), Joan takes the opportunity to remove the accumulated dirt, dust, and debris from the reverse of the canvas. The wooden framework is the heavy weight stretcher which supports the large canvas.

August 25, 2004

Varnishing the Painting
by Joan - Conservator

David Marquis applys a layer of a non-yellowing, low molecular, highly saturating, stable synthetic resin varnish to the painting. The first layer of varnish was applied by hand, using small pads. Here, David uses an industrial spray gun which provides an even overall application.

August 26, 2004

The Painting Returns

Back in the gallery! Joan and David begin the cosmetic phase of the conservation treatment. Existing old fills are adjusted by removing tiny bits of material and/or adding new fill to bring the voids even with the original paint level. The fills are textured to match more closely the surrounding original paint layers.