‘Gladioli and Roses’ 1880 by Henri Fantin-Latour was treated by Claire Shepherd during her postgraduate internship at the Guildhall Art Gallery. The painting needed conservation work before it was displayed in the Guildhall’s exhibition Nature Morte in 2017. We know from an old invoice in the archive that the painting had been damaged in 1963 when it fell from a wall, tearing the canvas in the bottom right corner. At the time a new canvas was adhered to the reverse of the original to support the tear in a process called ‘lining’. The painting was also cleaned, and the area of missing and damaged paint was retouched. Since that time, the area of retouching had darkened with age, and the varnish applied to the paint surface had discoloured to a dark yellow.
The Twisted Rose
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About the creation
Medium Acrylic on Canvas
Other details Artwork on supported wooden frame. Ready to hang. Framing on request.
Dimensions 120x60cm
This painting is currently on public display at Nottingham Trent University
This is the first painting inspired by “Mac’s” story, and the signature piece for this body of work.
He suffered childhood abuse, and after therapy describes himself as feeling like “A twisted rose, growing out of the dark into the light, but still carrying the scars of his past”. I believe this metaphor sums up much about PTSD and recovery. The past cannot be undone or … erased from the memory, but it is possible for people can learn to accept and give meaning to their experiences, and ultimately start to recover and grow.
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- Acrylic
- Conceptual
- Historical and Political
- Semi-abstract
- Symbolic
- Flower
- Tree
- Rose
About the creator
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Credentials
- Young Talent
- Nationally Known
- Prizewinner
- Works on commission
« I am a storyteller. I like the audience to wonder what may have happened, be happening or what might come to pass. »
Andy Farr is a talented British artist whose works have featured in exhibitions and prizes throughout the UK. His work is a balancing act between the accidental and envisaged, executed in a visual style that incorporates layers of texture, narrative and chance. Thematically, Farr focuses on mental health issues, memory and growing up, and technically, he incorporates a variety of medium including oil, acrylic, graphite and collage.
Red Rose Flower
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Hand-painted canvas :
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Consolidation
Once the varnish and overpaint had been removed, the extent of the tear became visible. It was found that underneath the overpaint were areas of flaking paint, so these were secured with a weak gelatine solution which was warmed and dried with a heated spatula. Looking at the painting in raking light, you can understand how the disruption in texture draws the eye, even if the retouching is carefully colour matched texture that is very different to the surrounding paint will stand out and draw attention away from the painting composition.
Filling Losses
Once the cleaning of the painting was complete, a new varnish was applied by brush to the paint surface. In this case a synthetic varnish was used because, unlike traditional natural resin varnishes it will not discolour and will remain easily removable in solvents that are safe for the original paint.
The area of lost paint was filled with a chalk putty that was tinted to match the cream coloured ground layer that extends underneath the painting. The paint texture was created in the chalk fill by applying strokes of the thinned putty mixture with a brush, and carving into the putty once it had dried. In order to replicate the fine surface texture of paint silicon moulds were taken of the surface of intact areas of paint. These moulds were then impressed into the surface of the fill during the retouching process.
Retouching Losses
The material used for retouching was a mixture of dry pigments and a synthetic varnish medium. This is used because it is capable of imitating the effects of oil paint but is readily reversible. The painting technique used by Fantin-Latour in the background was particularly hard to match, as he had used multiple thin layers of paint in different shades of warm grey, which were then worn down unevenly by the artist to achieve a subtle tonal effect. The backgrounds of paintings can often contain mixtures of many different colours, sometimes known as ‘palette scrapings’, and for this reason can be difficult to colour match.
The material used for retouching was a mixture of dry pigments and a synthetic varnish medium. This is used because it is capable of imitating the effects of oil paint but is readily reversible. The painting technique used by Fantin-Latour in the background was particularly hard to match, as he had used multiple thin layers of paint in different shades of warm grey, which were then worn down unevenly by the artist to achieve a subtle tonal effect. The backgrounds of paintings can often contain mixtures of many different colours, sometimes known as ‘palette scrapings’, and for this reason can be difficult to colour match.
A final layer of varnish was applied to the painting after the retouching was completed. A spray gun was used to distribute a very thin and even layer of varnish across the painting surface, without solubilising any retouching. With this final touch, the conservation treatment was completed and the transformed painting was ready to appear in the Nature Morte exhibition.
