The conservation-restoration of the large-scale canvas painting by Vittore Carpaccio (1465-1525/26) has been a desideratum for many years. In 1992/93 the other large painting by the Venetian Renaissance master in the Gemäldegalerie, The Consecration of St. Stephen, dated 1511, underwent a comprehensive restoration treatment, the varnish removal helped the colouring to regain luminosity. Since then, the enigmatic work with the Preparation of Christ’s Tomb has stood in its shadow. A detailed preliminary examination and further analyses accompany the treatment carried out by the head of conservation of the Gemäldegalerie.
Even after more than 500 years, the support and paint layer have been preserved relatively well, with larger paint losses only along the edges. However, dirt and yellowed varnish coatings detract the overall appearance. The painting was lined, i.e. it received a supporting canvas glued to the reverse, obviously before its acquisition for the Gemäldegalerie in 1905. The main challenge of the current treatment lies in the thinness of the paint layer and in the alteration of some areas of paint: Thus vermilion is partially blackened, as in the robe of Joseph of Arimathea, who is depicted with a large bowl for washing the corpse next to the tomb. And an orpigment, used for example in the red cloth of the meditating Job and the sleeve of the Magdalene, lost its originally more golden appearance and is degraded in its microstructure . This must be taken into account during varnish removal, so that the removal with only small amounts of solvents mostly has to be carried out under the microscope. After retouching many tiny losses, the painting will receive a new protective coating and is expected to be back on display in the Gemäldegalerie in summer 2024.
Babette Hartwieg, Cristina Aibéo: „Veränderungen von Auripigment auf Vittore Carpaccios großen Leinwandbildern der Berliner Gemäldegalerie. Technologische Befunde und restauratorischer Umgang“, in: Angela Weyer, Ursula Schädler-Saub (Hrsg.): „Aus Rot wird Schwarz – und dann? Pigmentveränderungen an Kunst- und Kulturgut“, Interdisziplinäre Tagung des Hornemann Instituts der HAWK Hochschule für angewandte Wissenschaft und Kunst in Hildesheim anlässlich seines 25jährigen Jubiläums in Kooperation mit der AG Konservierung/Restaurierung von ICOMOS und dem Verband der Restauratoren (= Schriften des Hornemann Instituts 24), erscheint 06/2024, S. 116–134.
Targets and results: Technical study and conservation-restoration of the painting The Preparation of Christ’s Tomb by Vittore Carpaccio
Responsible Institution: Gemäldegalerie, Staatliche Museen zu Berlin
Project manager: Dr. Babette Hartwieg (head of conservation and executing painting conservator, Gemäldegalerie)
Project participants: Cristina Aibeo (scientist, Rathgen-Forschungslabor), Bertram Lorenz (conservator of frames, Gemäldegalerie), Christoph Schmidt (technical photographer, Gemäldegalerie), Dr. Neville Rowley (curator, Gemäldegalerie)
Financial support: Culturespaces, Paris
Duration: 2021-2024