Jill's reconstruction of the rock formation is simply astonishing; such a convincing representation and has the feel of an Old Master. Not merely the overpainting typical of conservation but actual construction of a form - and it looks thoroughly genuine.
Listening to Jill Dunkerton so insightfully explaining the process, the expressions on the faces and the levels in the paining makes me feel I've taken a master class in restoration. Just fascinating! Thank you National Gallery.
Wow, what an incredible process. Thank you for showing this! I love how she was able to reconstruct the rock also how the three levels of the painting were found. Amazing.
The lady forms her sentences with care. They are always clearly stated, based on the logic of her profession and the accumulation of her skills. Hearing/Seeing her = informative pleasures.
I do thank you for this video. I am concerned about restoration of paintings and worry about the paintings becoming something other than what the artist intended. But I can tell that this restorer is going to great pains and effort to simply restore what botticelli created. Thank you!
thank you so much for these videos! Seeing the behind the scenes of how artworks are taken care of is really interesting (at least for me) and as Italian, thanks for taking such good care of a work from my country .
It's amazing how conservation reveals what the artist's original concept for the composition was and the techniques the artist then used to realise that concept. I have never heard of artists borrowing images from another artist before this early on. Is it unusual at this period? Was there an international art market this early that facilitated such borrowing or is this a one off? The conservator has really opened this painting up and given us a glimpse into mechanics of the Renaissance. Thank you.
It was not at all uncommon, and the artistic world was quite international! Many famous paintings were widely copied and distributed across many countries-- so even people who couldn't travel hundreds of miles to see an artist's work could own a print or a copy, and know about their work. As a result, artists could and did copy passages or entire works-- sometimes as technical studies, sometimes as a reference for objects and poses they couldn't see in person, and sometimes just to show off their wide artistic education. In fact it was so common that when Dianne Modestini performed her (admittedly controversial) retouching of the Salvator Mundi attributed to da Vinci, she based her reconstructions on more than thirty copies of the original work-- and those are only the copies that survived the last 500 years. There were probably dozens if not hundreds, all over Europe!
Beautiful work on restoration - part 1 was hilarious to watch - bold and expertly done removal. Can you show us the new framing, please? Would be very interesting to see.
Being from New York I was getting frustrated at how s-l-o-w-l-y Jill was speaking. I'm so glad I relaxed and listened & watched because it was very informative and I enjoyed it very much.
Fascinating presentation. Thank you. (And thank you, film editors, for keeping the background music far in the background, where it belongs. Even better, mute the music altogether when the presenter is speaking.)
Hers is not an easy job. There might not be any heavy lifting, but it requires intense concentration. I restore antique metal art, silversmith style, and I likened it to disarming a bomb.
I love how excited she is.
This is incredible to see. I love watching these videos. Jill is my idol. ❤️
Jill's reconstruction of the rock formation is simply astonishing; such a convincing representation and has the feel of an Old Master. Not merely the overpainting typical of conservation but actual construction of a form - and it looks thoroughly genuine.
What a brilliant connoisseur as well as a lover of the work! I want to point my students here and say: "this is why we study art-history."
Fascinating to see the restoration process of such an important artwork!
thankful for people who really knows what they're doing
Listening to Jill Dunkerton so insightfully explaining the process, the expressions on the faces and the levels in the paining makes me feel I've taken a master class in restoration. Just fascinating! Thank you National Gallery.
Too see the faces in such detail…oh my! What joy!
She looks very happy with her job! I think the painting looks very faithful to the "original" and the new rocks don't distract at all, well done!
What a cool job!
I like the way she talks I could listen for hours
Brava! This painting is a treasure.
Perfect work Jill
Beautiful work, I admire the talent of both artists here.
Such a beautiful painting and she did an amazing job!
Wow, what an incredible process. Thank you for showing this! I love how she was able to reconstruct the rock also how the three levels of the painting were found. Amazing.
Marvellous presentation. 🖼
A beautiful restoration of a wonderful painting. I look forward to seeing it in the National Gallery. Thank you.
Un lavoro fantastico, grazie Jill...
The lady forms her sentences with care. They are always clearly stated, based on the logic of her profession and the accumulation of her skills. Hearing/Seeing her = informative pleasures.
Beautiful !! Excellent job.
Such amazing work. I think the job of restoration would be so rewarding. I love these videos..Thank you
I love these videos. It feels like seeing the painting through the eyes of Jill Dunkerton and she sees much more than I did.
Thank you for this I love watching looking at the restoration process and listening to the conservators concerns and challenges. 💙
How exciting to make the connections. So we’ll done. Would love to see hours of video of the restoration touching up being done. :)
Congratulations on your valuable work. Greetings from Tuscany.
Beautiful work! Would love to see a final episode dealing with constructing a new frame allowing for the display of the once-hidden elements.
I do thank you for this video. I am concerned about restoration of paintings and worry about the paintings becoming something other than what the artist intended. But I can tell that this restorer is going to great pains and effort to simply restore what botticelli created. Thank you!
Thanks Jill - please post more videos!
thank you so much for these videos! Seeing the behind the scenes of how artworks are taken care of is really interesting (at least for me) and as Italian, thanks for taking such good care of a work from my country .
Thank you, that was really fascinating!
It's amazing how conservation reveals what the artist's original concept for the composition was and the techniques the artist then used to realise that concept. I have never heard of artists borrowing images from another artist before this early on. Is it unusual at this period? Was there an international art market this early that facilitated such borrowing or is this a one off? The conservator has really opened this painting up and given us a glimpse into mechanics of the Renaissance. Thank you.
It was not at all uncommon, and the artistic world was quite international! Many famous paintings were widely copied and distributed across many countries-- so even people who couldn't travel hundreds of miles to see an artist's work could own a print or a copy, and know about their work.
As a result, artists could and did copy passages or entire works-- sometimes as technical studies, sometimes as a reference for objects and poses they couldn't see in person, and sometimes just to show off their wide artistic education.
In fact it was so common that when Dianne Modestini performed her (admittedly controversial) retouching of the Salvator Mundi attributed to da Vinci, she based her reconstructions on more than thirty copies of the original work-- and those are only the copies that survived the last 500 years. There were probably dozens if not hundreds, all over Europe!
Wonderful
Clever! ❤️
Oh I wish this had been a longer series
Hi Jane, we're so glad you're enjoying this series! There will be another video in this series, so look out for that in the future
Beautiful work on restoration - part 1 was hilarious to watch - bold and expertly done removal. Can you show us the new framing, please? Would be very interesting to see.
Being from New York I was getting frustrated at how s-l-o-w-l-y Jill was speaking. I'm so glad I relaxed and listened & watched because it was very informative and I enjoyed it very much.
Fascinating presentation. Thank you. (And thank you, film editors, for keeping the background music far in the background, where it belongs. Even better, mute the music altogether when the presenter is speaking.)
What frame did you put on afterwards?
The art world is coming to RUclips also.
How do you plan to reframe this painting ?
Question: "
Do you change the frame then?"
🇹🇷😍🤗
Hers is not an easy job. There might not be any heavy lifting, but it requires intense concentration.
I restore antique metal art, silversmith style, and I likened it to disarming a bomb.
💔