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The Daily OrangeRestoration hardware
SU alumnus shares experiences repairing Michelangelo painting
By Kate Brunkhorst
Posted: 10/2/08, 11:34 PM EST Section: News
Before a painting can be restored, it must be studied, observed and investigated from an archival standpoint, Kunzelman said. The Doni Tondo stood the test of time because of Michelangelo's construction of the frame. The frame was supported with a batten made of coniferous wood. It was constructed of pear wood because fruit woods are advised for optimal carving, she explained.
New technologies have combined with previous restoration practices to revamp the practice of fine art conservation, Kunzelman said. These include infrared scanners, which help detect "paint-outs" and possible under-drawing.
Before renovation, X-rays of the painting suggested the presence of air bubbles. An infestation of wood-boring beetles had left several thousand holes in the five sculpted heads on the frame. White bumps protruded from the base layer because of the stucco Michelangelo used to smooth his surface. Micro-cracking was apparent on the finish.
Canvas pieces were inserted over joints and knots to restore a level surface. Kunzelman and her team also had to remove layers of dark and streaky varnish from past attempts to restore the five-panel wood painting.
Kunzelman's presentation included video footage of the restoration. Much of the old varnish was removed using a precise surgical blade and simple swabs were dampened in distilled water to remove residual dust in a point-by-point cleaning. No matter the method, Kunzelman stressed the importance of non-invasive testing and restoration when it comes to all forms of fine art.
"Showing people how these things are done, why they were done, on the basis of a scientific investigation is fundamental to our profession," she said.
One of the shortcomings of art restoration is lack of public knowledge about the process, Kunzelman said. She conveyed that new technologies and appreciation for the restoration of fine art needs to be exposed to the public - otherwise, some of the world's most valuable and rare pieces could fall into disrepair.
"If the work is brought to the public's attention and to the attention of experts," she said, "it's a way of communicating necessity for fine art restoration."
kebrunkh@syr.edu
New technologies have combined with previous restoration practices to revamp the practice of fine art conservation, Kunzelman said. These include infrared scanners, which help detect "paint-outs" and possible under-drawing.
Before renovation, X-rays of the painting suggested the presence of air bubbles. An infestation of wood-boring beetles had left several thousand holes in the five sculpted heads on the frame. White bumps protruded from the base layer because of the stucco Michelangelo used to smooth his surface. Micro-cracking was apparent on the finish.
Canvas pieces were inserted over joints and knots to restore a level surface. Kunzelman and her team also had to remove layers of dark and streaky varnish from past attempts to restore the five-panel wood painting.
Kunzelman's presentation included video footage of the restoration. Much of the old varnish was removed using a precise surgical blade and simple swabs were dampened in distilled water to remove residual dust in a point-by-point cleaning. No matter the method, Kunzelman stressed the importance of non-invasive testing and restoration when it comes to all forms of fine art.
"Showing people how these things are done, why they were done, on the basis of a scientific investigation is fundamental to our profession," she said.
One of the shortcomings of art restoration is lack of public knowledge about the process, Kunzelman said. She conveyed that new technologies and appreciation for the restoration of fine art needs to be exposed to the public - otherwise, some of the world's most valuable and rare pieces could fall into disrepair.
"If the work is brought to the public's attention and to the attention of experts," she said, "it's a way of communicating necessity for fine art restoration."
kebrunkh@syr.edu
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