Looks like there is a bit of re- or over-interpreting Piero's intentions here. At least, contrary to the previous centuries' practices, the surface restorations can be easily altered or removed.
Went to see this last Friday and was stunned by it's beauty. What an amazing restoration, Jill. I love how it has been presented in a small room of it's own.
The painting in of the shepherds' heads fails to make them recede due to the warmth of the colours employed, which contrast greatly with the generally cool colour scheme of the work and in particular with the grey stone of the barn wall.
It’s a completely wonderful restoration of this extraordinary picture and a privilege to see it hanging in it’s own gallery space at the National Gallery, thank you.
I wish I were in London to stand before and contemplate this painting! The whole composition is a wonder, and the details the restorer points to, such a the rose of the lute and the shaft of light from the hole in the roof, are extraordinary. The animals also reinforce the moment: The donkey braying behind the singers and musicians is touching and hilarious; the ox looks so docile and benevolent.
Having just watched the video from two years ago, where Jill Dunkerton walked us through the complexities and challenges of the restoration, I'm the more astonished by the beauty of the final result. How I honour her!
thank you so much for this video and for the amazing restoration work! Hopefully I will visit again the National Gallery in the near future and see it again! restoring such a precious work of art must be daunting but amazing as well, hats off to Jill!
Jill, thank you for letting us be part of this exciting journey! One question: do you read the light colours between the flowers and the grass at the bottom as sand or earth as you would expect for what Pietro expected the ground to look like from his perspective when he painted it?
A wonderful job has been done on this painting but I can't help wondering whether the bright red on the caps and the cuffs shouldn't have been a little rustier or browner.
Coherent here means that it is more ‘readable’ and more what Piero would have intended. The painting as a whole makes more sense when taken as a scene in its entirety. Prior to the restoration the damaged figures’ faces were too prominent and drew the viewer’s eye away from the intended focus. Now those faces recede into the background better and the painting once more achieves a clarity of message.
It is wonderful idea to place the painting alone in a room for those who wish to contemplate its significance, bravo👏👏👏
Looks like there is a bit of re- or over-interpreting Piero's intentions here. At least, contrary to the previous centuries' practices, the surface restorations can be easily altered or removed.
The painting looks fabulous in that little room all by itself. The lighting draws you in.
Went to see this last Friday and was stunned by it's beauty. What an amazing restoration, Jill. I love how it has been presented in a small room of it's own.
Incredible. And how wonderful to see the work of a world-class restorer.
(It would also be nice to have a bench in the room.)
The painting in of the shepherds' heads fails to make them recede due to the warmth of the colours employed, which contrast greatly with the generally cool colour scheme of the work and in particular with the grey stone of the barn wall.
It’s a completely wonderful restoration of this extraordinary picture and a privilege to see it hanging in it’s own gallery space at the National Gallery, thank you.
I wish I were in London to stand before and contemplate this painting! The whole composition is a wonder, and the details the restorer points to, such a the rose of the lute and the shaft of light from the hole in the roof, are extraordinary. The animals also reinforce the moment: The donkey braying behind the singers and musicians is touching and hilarious; the ox looks so docile and benevolent.
Having just watched the video from two years ago, where Jill Dunkerton walked us through the complexities and challenges of the restoration, I'm the more astonished by the beauty of the final result. How I honour her!
The faces of the two singers are extraordinary! 4:16
Amazing!
thank you so much for this video and for the amazing restoration work! Hopefully I will visit again the National Gallery in the near future and see it again! restoring such a precious work of art must be daunting but amazing as well, hats off to Jill!
Thank you, Loretta!
my word. i just love the care and time put for in restoring this piece. my lord 3 years...?
To say very nicely done is an understatement.
Jill, thank you for letting us be part of this exciting journey! One question: do you read the light colours between the flowers and the grass at the bottom as sand or earth as you would expect for what Pietro expected the ground to look like from his perspective when he painted it?
I liked the painting before it was restored 🇨🇾
So glad to see so much great artwork being restored on what is now the Advert month.
A wonderful job has been done on this painting but I can't help wondering whether the bright red on the caps and the cuffs shouldn't have been a little rustier or browner.
Time has been truly unkind to this particular painting... If only we could lavish such conservation on all deserving works!
Thank-you for sharing this very interesting video!
Wow! Great job
A wonderful job to bring the painting back to life.
Let's hope it's behind glass and security is tight.
Marvellous ! Thankyou x x
Looks like you did good work!
👏👏👏👏👏
First of all, great work. However I don’t understand what it means that the goal was to make it more coherent.
Coherent here means that it is more ‘readable’ and more what Piero would have intended. The painting as a whole makes more sense when taken as a scene in its entirety. Prior to the restoration the damaged figures’ faces were too prominent and drew the viewer’s eye away from the intended focus. Now those faces recede into the background better and the painting once more achieves a clarity of message.
❤❤❤
👏👏👏