The National Trust unveil secrets behind 18th century Kauffman masterpiece
Infrared technology has been used to reveal new discoveries about a painting by one of the 18th century's most important artists.
The conservation work at the National Trust’s Petworth House in Sussex has brought the 1788 piece Angelica Kauffman’s Diomed and Cressida back to life, 250 years since its conception.
For the first time, experts have been able to reveal what's been described as a 'magnificent' underdrawing beneath the paint.
The drawing, likely created from charcoal, also showed a grid which suggests Kauffman was replicating the piece from a smaller sketch.
Dr Emily Knight, Property Curator at Petworth explained, "Before conservation, the painting was very hard to read due to layers of discoloured varnish and cracked paint. The transformation eight months later is extraordinary. What we see now is so much closer to what Kauffman intended.
"The use of infrared has allowed us to see under the surface of the painting and observe the artist’s working process. Kauffman probably created a preparatory sketch, which she then scaled up on the canvas with the help of a grid. It’s amazing to see her fluid and expressive underdrawing for the first time.
"Kauffman is this groundbreaking artist who built an incredible career at a time when it was hard for women to become professional artists. It’s wonderful to have this artwork back at Petworth for our visitors to enjoy, and where we can shine a light on the incredible work of our conservators."
Angelica Kauffman was one of the most celebrated artists of her age, as one of only two female founder members of the Royal Academy.
She received notoriety because of her celebrity portraits and history paintings, pioneering a new approach to the genre by placing the female protagonist at the heart of the composition.
The painting was treated by independent paintings conservator Sophie Reddington. She said,
"This must be one of the most rewarding projects I’ve worked on, it was wonderful to gradually uncover little brushstrokes that have been hidden for decades, along with so many other ‘lost’ details - the jug, the shield, the helmet.
"The process has restored the vibrancy of the original paint colours and I really felt I was bringing the painting back to life; that I was awakening an old master. The discovery of the underdrawing was also a very exciting moment; it’s so beautiful and dramatic, with a great sense of energy."
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