Michael Gallagher is the Sherman Fairchild Conservator in Charge in the Department of Paintings Conservation.
Posted: Friday, January 23, 2015
Conservators Michael Gallagher, George Bisacca, Alan Miller, and Jonathan Graindorge Lamour reattach the Jabach portrait to its stretcher in preparation for the final phases of conservation.
Just before the holidays, we reached a major milestone in the conservation of the Jabach portrait: the reattachment of the canvas to its stretcher. The short video above gives a good sense of the process undertaken with George Bisacca, Alan Miller, and Jonathan Graindorge Lamour. In all, it took about a couple of hours.
Posted: Monday, December 22, 2014
After the severe distortions at the top of the Jabach portrait were successfully reduced, the next step was to prepare the painting for re-stretching. This involved the attachment of a new strip-lining; new pieces of canvas were adhered along all four edges of the reverse of the painting using a heat-activated adhesive. (It should be noted that these can be easily removed in the future if necessary.)
Posted: Wednesday, November 19, 2014
One thing you learn quickly in conservation is that the objects under your care make the rules! Frequently, well-thought-through plans or strategies for approaches to treatment have to be tweaked or completely rethought.
Posted: Wednesday, October 22, 2014
Now that I've finished the cleaning of the Jabach portrait, it is time to deal with the distortion resulting from the top of the picture having been folded over (as described in my last post). We first had to construct a platform on which to lay the picture face down while working on the reverse side of the canvas. This was custom built by our structural specialist, George Bisacca.
Posted: Wednesday, September 24, 2014
Now that the varnish removal from the Jabach portrait is finished, it's time to turn to a rather more thorny issue: the structural conservation work.
The original and surprisingly fine canvas is constructed from five pieces of fabric: a large, central rectangle; two horizontal bands, one each top and bottom; and two vertical bands, one each at the left- and right-hand sides. The horizontal bands run the full width of the composition. This construction is entirely original, planned from the outset to accommodate the monumental scale of the painting while carefully situating the seams in the peripheral areas of the composition.
Posted: Wednesday, August 27, 2014
The cleaning of the Jabach portrait is going well, and we in Paintings Conservation are all transfixed by the exceptional quality of the painting. One area I was particularly looking forward to seeing without the yellowed varnish was the beautiful figure of Jabach's daughter Anna Maria. She really anchors the right-hand side of the composition, and her self-aware, direct gaze pulls us into the Jabach family's rarefied world. Below are some photographs that I took during the cleaning.
Posted: Wednesday, July 30, 2014
I had first seen the Jabach family portrait in a warehouse in London over a year ago and loved it, but I'll admit that when it finally arrived in our paintings conservation studio at the Museum this past June, I was a bit overwhelmed—it's enormous! Fortunately, the work's current condition needs to be fully documented before conservation can begin. This not only helps a conservator understand the painting and its issues but also provides some breathing space and thinking time.