Follower of Bronzino’s Madonna and Child with the Infant Saint John: Technical images and conservation
Paintings change over time: colors darken, layers cloud and yellow. Follow the treatment of a sixteenth century painting, the Madonna and Child with the Infant Saint John by a follower of Agnolo Bronzino, as a conservator develops a new, innovative technique to recover the work’s depth, color, and shading.
Under the gilded surface of each Renaissance panel painting is more than 20 layers of gesso, charcoal, glue, and pigment. From rabbit glue to egg yolks, hear about the materials and methods used in fourteenth century Italy from experts at the University of Delaware who have created a historically accurate reconstruction of the Museum’s St. Francis Receiving the Stigmata by Carlo Crivelli.
In our exhibition, Reunited: Francescuccio Ghissi’s St. John Altarpiece, eight individual 14th-century paintings that were once a singular altarpiece are brought back together, along with a recreated missing panel, so that the altarpiece can be seen and appreciated as one work of art. Ghissi’s St. John Altarpiece is gilded in gold leaf and in this interview with Portland’s local Master Gilder, Nancy Thorn, she describes the gilding techniques that would have been used on the altarpiece and which are still in use today.