I'm always amazed by the paintings seen in detail. I know that if I were to see them during a visit at the gallery I would never pay so much attention to a single painting. Thank you for giving me the opportunity to really see these works of art.
The amount of conservation and restoration work that goes into every single masterpiece of The National Gallery is simply amazing!! Goes on to show the very high standards the Gallery sets for itself making it a true institution of excellence!!😊😊❤❤
Thank you for showcasing Richard Wilson and highlighting his importance within the art world of that era. It’s always fascinating to see how such paintings are restored. Such talent and dedication from this conservator. It makes me appreciate the paintings that much more when I see them in person. It’s also exciting for me to find out that Wilson influenced 2 of my favourite painters: Constable and Turner!
Wonderful video about a painting that I wouldn’t have looked closely at in the gallery and it taught me to appreciate the incredible restoration techniques
Thank you. Richard Wilson is one of my favorite landscape artists; yet as you point out, not much focus is given to him. Do you know if most of his paintings were as monumental in size as the one that you are restoring, or did he make smaller, more portable ones? (I don't see this detail on the link you provide.)
I have a question regarding the reconstruct process, are you using the same pigment that he used? For example: using only Prussian Blue or using other blues?
My guess is they're using modern synthetics which can be removed without damaging the painting. Modern art conservation is very strict about this, all retouching is considered temporary and must be both removable and identifiable (to future conservators, anyway).
I once went to oil painting classes where the tutor taught a wet on wet technique. I never mastered it. I wanted anyway to paint an old stone house. I wonder if these paintings in time will suffer the same fate?
Probably not: wet in wet is not the same process - Wilson would have painted in layers; if he'd allowed the base layers to dry properly, and hadn't used more oil in them than in the layers over them, he wouldn't have had this problem, at least not to the same extent.
![Felix "Unfair" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/Oswujxm2Ag0/mqdefault.jpg)
I'm always amazed by the paintings seen in detail. I know that if I were to see them during a visit at the gallery I would never pay so much attention to a single painting. Thank you for giving me the opportunity to really see these works of art.
Thank you for showing the pigments up close. Very interesting, and you have done a wonderful job of restoring this beautiful painting.
The amount of conservation and restoration work that goes into every single masterpiece of The National Gallery is simply amazing!! Goes on to show the very high standards the Gallery sets for itself making it a true institution of excellence!!😊😊❤❤
Thank you for showcasing Richard Wilson and highlighting his importance within the art world of that era. It’s always fascinating to see how such paintings are restored. Such talent and dedication from this conservator. It makes me appreciate the paintings that much more when I see them in person. It’s also exciting for me to find out that Wilson influenced 2 of my favourite painters: Constable and Turner!
Love learning more about the painting and work to conserve. Research to determine how to retouch the dog and a cow. So well done.
What a meticulous job have you done. I don`t even imagine how long it took, to reconstruct such a big picture. Thanks for your job.
A job that demands talented dedication and responsibility. 🌹🌺
Wonderful video about a painting that I wouldn’t have looked closely at in the gallery and it taught me to appreciate the incredible restoration techniques
Glad to introduce you to a work you might otherwise not have explored!
What a fascinating video. Thanks to the National Gallery and everyone involved.
Really glad you enjoyed it
Very interesting! What an amazing, but delicate work you do!
Thank you!
Excellent film and a fantastic restoration
Thanks so much for watching! Glad you enjoyed it
Very nice!! 🖼🖼
Thank you so very interesting to learn about these topics
Thank you. Richard Wilson is one of my favorite landscape artists; yet as you point out, not much focus is given to him.
Do you know if most of his paintings were as monumental in size as the one that you are restoring, or did he make smaller, more portable ones? (I don't see this detail on the link you provide.)
very interesting thanks a lot
Glad you liked it!
thank you
I have a question regarding the reconstruct process, are you using the same pigment that he used? For example: using only Prussian Blue or using other blues?
My guess is they're using modern synthetics which can be removed without damaging the painting. Modern art conservation is very strict about this, all retouching is considered temporary and must be both removable and identifiable (to future conservators, anyway).
That's really interesting. Thanks for sharing your knowledge @@e.s.r5809
Paolo Ucello‘s Rout of San Romano is just sitting about in the background there. Amazing.
Film incoming soon on that note! You could subscribe to make sure you see San Romano's conservation story if you haven't already :)
I once went to oil painting classes where the tutor taught a wet on wet technique. I never mastered it. I wanted anyway to paint an old stone house.
I wonder if these paintings in time will suffer the same fate?
Probably not: wet in wet is not the same process - Wilson would have painted in layers; if he'd allowed the base layers to dry properly, and hadn't used more oil in them than in the layers over them, he wouldn't have had this problem, at least not to the same extent.
The plunking of a piano key while you speak is hard to ignore.
They would use unsuitable mediums a lot of the time.
Fascinating but could do without the musical overlay.
I don't believe it!