Michael Gallagher applies the first layer of varnish to the surface of the Jabach portrait.
«After the completion of cleaning and structural work on the Jabach portrait, the next step in its conservation is the application of a first layer of varnish. The varnish acts as an isolating layer between the original painting and the retouching—which will come later—but, most importantly, it begins the process of saturating the surface, which is so crucial to a painting of this period.»
Varnish reveals and enhances the color and the tonal range in the composition. Of course, many later artists chose not to varnish their works, preferring an unsaturated, matte surface or one with a less homogeneous appearance. That is not the case, however, for the majority of so-called Old Master works.
I will need to apply more than one layer of varnish as the retouching phase progresses, but I am not aiming for a high-gloss finish; rather, I believe a saturated, quiet, and elegant surface is appropriate for a paint layer that has aged and changed.
Watching Le Brun's great family portrait come to life as the varnish is applied is truly thrilling.
