The “Lady in Red” a mysterious painting restored by the British art historian
“Varnish” is a traditionally clear solvent that is modified with the addition of pigments and other materials. Painting varnish holds significant value for artists as these solvents are required to restore the painting’s delicate work from dust and grime and for time restoration, in which creativity was promulgate.
“A Woman in Red (1618)” is an exceptional example in which the painting is restored to its original intricate beauty by the British art dealer and historian Philip Mould, and the fascinating fact is that most of the details are unknown. The protective layer was 200 years old. Philip Mould posted videos of its restoration and removal on channel X, which viewers find oddly satisfying. The restoration process has given unfettered access to the public’s artistic curiosity increasingly putting the process in the dilemma of public scrutiny and admiration.
The removal process isn’t quite dramatic and quick as perceived by the public. However, the gel solvent and technique Mould utilised is a mystery and the entire process takes up to three weeks to complete. The painting was purchased from a private collection and the only detail known to date is the year of the provenance of the painting and the age of the woman sitting in the portrait is 36 years old. This oddly satisfying varnish removal is exceptional, unlike Jacopo Zucchi’s “Portrait of a Lady”, which is mysterious in terms of the identity of both the subject and the painter.
Historical Context of “Lady in Red (1617-18)”
The painting had a provenance from the reign of King James I and it was identified as a “Jacobean painting”. The Jacobean era was the second phase of the Renaissance, composed of perspective, intricate patterns, depth and detail-oriented. Each floral pattern and chintz is hand-painted separately, depicting the power, house lineage and authority. As these paintings were all about demonstrating power, full-length portraits came into fashion because they have a stronger presence and create an impact. Why? the full-length portraiture was reserved for royalty and when such style was appreciated in new houses it had a status attached. An important fact is that English portraiture was transformed during the reign of James I from the Elizabethan style to that of van Dyck.
According to Phillips Mould & company’s narrative, the subject sitting in the painting and the artist who painted her are still unknown apart from the detail that the woman is 36 years old and the origin of the painting is 1617-18. It’s indeed a mysterious painting, an intriguing one for art curators and historians because of its magnificent details of the folds of fabric and intricate craftsmanship of gems on Lady’s gloves, which gives a cue that she belongs from an English state apart from London.
Description of “Woman in Red”
This early portrait panel is captivating due to the beautiful red dress and spring pattern details, which brighten gloomy corridors. For art enthusiasts, it is a remarkable site. As you read the painting’s details and the dimensions defined by the artist in the folds of the dress which are elaborated by the spring flowers are astonishing. The iconography captured in the sleeves is almost three-dimensional, and the hair jewellery which surfaced after varnish removal, indicates that she belongs to royalty, a figure of social authority. The artist captured remarkable details of the hair jewellery, making it appear realistic as it was purchased by the painter from the jewellery shop and was placed vividly on the hair of the subject. The intricate embroidery on gloves and the lacework of hanging sleeves are also noteworthy making it appear almost three-dimensional, a dilemma between illusion and reality. The woman in the painting is holding a flower, not just any flower but a lily. The symbolism of the lily in Jacobean paintings is purity and chastity, primarily used for women.
An important detail is that portraits are done in standing positions in the early Jacobean paintings. The historian remarks this style as a “House style” or “ House Pattern”. What is it? Well, James-I commissioned two portraits from the workshop of John de Critz between 1605-06. The portraits were done in typical style for the king, created using standard patterns. The assistants in the workshop are taught the house style so they can work the same picture with different styles being visible. Once the king approves it, the workshop could produce as many portraits as it wanted of that image. Earlier it was mentioned that a house style preserved for royalty became a benchmark of status and social value for new houses. That’s why the “Lady in Red” is painted standing.
State of Preservation:
Two centuries ago, a thick layer of Varnish was applied to artwork, turning yellow over time and then brown. This indicates, that the artwork was left untouched and well-preserved. A team of experts was arranged by Philip Mould & Company inclusive of chemists and art curators, who conducted the process after extensive testing of the varnish on an oil surface on an Oak panel.
A glimpse of a painting before cleaning indicates the loss of colour value and intensity under the thick layer of varnish applied two centuries ago. The varnish was naturally discoloured turning first yellow and then brown until the entire artwork appeared covered in grim and dust. This protective layer prevents the portraiture from wear and tear.
The team of art curators and chemists prepared a mixture of gel and solvent to remove the varnish that did not eat the underlying painting. It is done with a great deal of testing, skill, and precision. Two centuries of discolouration is removed, restoring the original vibrancy and composition of the “Lady in Red”. Fine art restoration is Philip Mould’s bailiwick, this process was different from normal restoration, with the gel suspending the solvent and working in a more controllable manner.
A cohesive and balanced approach to sensitive restoration processes is adopted to prevent gimmick failures. Ecce Homo, c.1930 Fresco and Michelangelo, Jesse Spandrel, c. 1508, Sistine Chapel, Vatican City are the most infamous botched restoration results. In the process of prevention of culture and heritage loss, preventive measures are regulated. Art restoration has a significant impact on the social and cultural value of the general public. Fine arts restorers are highly educated and skilled in art history and chemistry. Hence, a restoration process if done professionally, increases the value of the artwork, bridges the gap between eras, and aids in preserving a visual record for future generations. Studying different artworks and portraiture can reveal a culture’s traditions and aesthetics. These pieces provide insight into a community’s identity, values, and beliefs. It aids in understanding the social, political and religious contexts in which they were created and cultural heritage.
Restoration Technique and Challenges Encountered
Sara Drew, an art conservator on the YouTube channel Insider Art explains the professional restoration method of Old Master paintings. The process is vividly defined in four steps Cleaning, Deconstruction, Reattaching, and Retouching. Since the art conservators are skilled in chemistry and art history, the process is bound with utter professionalism and precision. A mixture of gel and solvent was created for cleaning the varnish of the painting “Lady in Red” by Philips’ team of chemists and art conservators. It was apart from the normal restoration process, it was done to remove the layer of the varnish and not to damage the underlying painting. The entire process took three weeks and many details were resurfaced. Some of Philip Mould’s followers start making assumptions about the origin and story. The iconographic clues on her dress and feather sleeves have been a main topic of discussion. Many of his followers were suggesting a potential lookalike, including Lucy Russell, Countess of Bedford
According to Philip Mould, an expert in art conservation, the painting’s specifics can be described as follows:
“Many details of this Jacobean painting were obscured by the yellowish varnish on the surface”
“A small area of her astonishingly elaborate dress was revealed. We don’t know her identity yet but certain iconographic clues are starting to emerge….”
A varnish removal from the chin video reveals the true and bright colours obscured from the discolouration. Varnish is not only used for restoration purposes but it also improves the colour saturation of oil and acrylic paintings. It also enhances the finish of paintings and the sheen of acrylic artwork which once dry may lead to dullness depending on the composition of a mixture.
“Further cleaning has revealed what could be the heraldic device of a clenched gauntlet on the apex of the brooch in the hair of #theladyinred. Could this be a clue here as to her lost identity?”
The hair jewellery appears to be natural and realistic with dimensions showcasing the acquisition of skills of a Master. These details mark the couture trends mushrooming during the 1600s at the royal courts. Spring flowers and chintz patterns are vividly adopted on fabrics accustomed with feathers and delicate lacework on cuffs. Embroidered gloves and sleeves shadowed with a layer of fabric truly depict a festival eve or a wedding which gamifies the quotidian routine.
Collaboration of Experts
Philip Mould & Company received this painting “Lady in Red” from a private collection in London. The Company had designated a team of expert chemists and art historians for the restoration process. Philip Mould & Company deals in the restoration and the conservation of art pieces specialising in British Art and Old Master Paintings. Philip Mould is a renowned art conservator and historian who was involved in this meticulous practice from his early teens and built up a company dedicated to art conservation. He has made many major art discoveries, including works of Thomas Gainsborough, Anthony Van Dyck and Thomas Lawrence.
Varnish, when applied to the painting is made to be removed without causing any critical damage to the painting. Turpentine is used with other solvents and this application of the mixture appears to be slapdash. However, it was done after a long testing of skill, and precision. To date, none of the solvents and gels was exposed by Philip Mould & Company, what a tragedy…
The process began with the removal of the discoloured varnish, but it took the team 3 weeks to revive the masterpiece. In the long run, if paintings are not restored professionally can lead to cracks, ruptures, and other damages. Apart from varnishing other factors are included to prevent critical damage to painting.
Preservation Measures
There are potential factors responsible for damaging art especially when it is at least 400 years old. The Linen applied on the back of a painting acts as a secondary support and the wooden frames need to be checked timely to avoid any critical damage. Environmental factors, lightning conditions, framing, and handling of the painting play a pivotal role in preservation.
Placing artwork in the well-lit room adds character. However, it’s important to consider that high exposure to light may impact the pigment. Heat can soften the texture and paint, while moisture can weaken paint adhesion. National Artist Carlos’ “Botong” Franciscos’ “The Progress of Medicine in the Philippines” suffered the fate of environmental damage, but it was restored in 2006.
It’s better to avoid touching the painting with bare hands. If it’s mandatory, use a pair of gloves: as sweat and dust from your hands may damage the delicate art. During handling or transferring of the painting, it should not be carried from the top of the frame or stretcher. To remove the dust collected on the artwork, use a natural hair brush to remove it.
In a video from the Metropolitan Museum of Art, Gallagher an art conservator presents the restoration process. Due to the structural damages in Charles Le Brun’s “Everhard Jabach and His Family” the team took 10 months to complete the restoration and conservation of the masterpiece. In the long run, if damages are left untreated may result in ruptures and cracks which may have a moral and social impact on the general public and art enthusiasts.
It is a best practice to consult an art conservator to keep the artwork in its best condition.
Public Reaction to the Conservation Process
Philip Mould & Company are pioneers in the conservation of artwork, however, the restoration of the artwork “The Lady in Red” received mixed reviews. The process was accessible to the general public in 2017, providing unfettered access to curiosity and criticism. Many appreciate the work by terming it as oddly satisfying and some oppose the methods applied by the company. What important is that the first video made public on his Twitter account crossed 7.5 million views. People not only anticipated the results but to knew the story behind the subject of the painting.
Philip had to develop and work on the story behind this flourishing beauty which is hanging safely in the Philip Moulds’ gallery. The story is still unknown, but what we know is that an era is portrayed to the present viewers, enabling them to understand the social and fashion trends prevailing during the James I reign. The details incite multiple emotions in her viewers. A beauty of colours and precision.
Conclusion
After analyzing the restoration process of the painting “A Woman in Red (1618)” and exploring the historical context of the Jacobean era, we can have a better understanding of the significance of portraiture in the past. The painting’s intricate details and exceptional craftsmanship serve as a testament to the English region’s power and authority during that time. The subject’s identity and the painter’s mystery add to the painting’s intrigue, making it a fascinating art piece for art curators and historians alike. The restoration process has also allowed the public to appreciate and explore art more deeply, making it a fulfilling experience for viewers.
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