Varnish

After cleaning

After intermediate varnish application

The impact of an intermediate varnish on underbound paintings

After cleaning, this painting unveiled an underbound, matte painting surface, accompanied by numerous small paint losses requiring retouching. In such instances, the application of an intermediate varnish becomes a strategic step in the conservation process. The intermediate varnish serves as a protective barrier over the existing paint layers, providing a stable and receptive surface for retouching materials. Furthermore, the varnish enhances colour saturation, thereby aiding accurate colour matching during the retouching process.

After cleaning

After final varnish application

Varnishing impressionistic paintings

Choosing whether or not to varnish a painting involves nuanced considerations. Three pivotal factors guide this decision: the historical context and the artist’s original intent, the painting’s intended function, and the imperative of safeguarding the artwork. In the specific context of this painting, belonging to the oeuvre of a Dutch Impressionist, navigating these considerations led to conclusions that appear to be in tension with one another.

Firstly, research into the historical context highlighted the Impressionist movement’s divergence from traditional varnishing practice, with artists like Monet and van Gogh expressing concerns about its impact on their works. However, others, such as Manet and Degas, did varnish their works for various reasons. This reveals the lack of a consistent viewpoint within the movement, but also the possibility that this work was perhaps not meant to be varnished.

The investigation into this specific artist’s varnishing practices encountered challenges due to limited available information. It is essential to acknowledge the artist’s association with Herman van der Weele, who adhered to traditional varnishing practices in his paintings. Furthermore, an indirect connection with van Gogh was uncovered, suggesting the artist in question was likely engaged in the ongoing discourse on varnishes. Analysis of online images of his work revealed uncertainty regarding the varnishes, with some exhibiting a yellow tint that may indicate varnishing. In addition, galleries selling works of this artist provided conflicting information about the initial state of the paintings, noting that while his paintings were typically varnished, not all of them were.

Secondly, this painting holds significance within a collection that prioritizes accessibility and public display through loans. Consequently, the paramount consideration became the protection of the artwork. While the option of protective glass was deliberated, reservations related to impacts on texture, glossiness, and cost deemed it unsuitable. Following a thorough examination of the historical context, the unclear artist’s intent, and the intended function of the artwork, the pivotal factor of protection emerged as a compelling argument. Hence, a decision was made to apply a satin gloss varnish to safeguard this painting. The aim of this varnish was to protect, while not distracting from the brushstrokes and colours in the work with an overly glossy appearance.