The artist is the lamp
The loading version of the portrait (1793), which is in the state Hermitage.
It is depicted in a small imperial crown, diamond diadem and mantle, with ribbons of the orders of St. Andrew the First -Called, St. George 1st degree and St. Vladimir 1st degree.
The image exactly repeats the image of the empress from the Hermitage Fabric. The location and turn of the figure of the model, as well as the suit and accessories, coincides. And. The lamp depicted the queen in a golden mining mantle, fastened with a diamond Orgraph, in a light silk dress embroidered with cornflowers and a trimmed lace collar, the hairstyle of the monarchin is decorated with a small crown and diadem, the costume is decorated with three order ribbons-Blue Andreevskaya, Black Orange George and Red-Black Vladimir Vladimir. Several similar portraits are known, made and.B.Lamps for state institutions.
Restoration of the picture of Johann Lampi the Elder "Portrait of Empress Catherine II"
+ About the restoration of the work
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The state of safety before restoration:
Upon admission to restoration, the surface of the painting was covered with a thick, bright yellow layer of varnish, affected by mesh lacquer craquelure, there were parts of the fabric and wrinkling the varnish film.
On the image of the forehead, a convex section of a rough entry measuring 6×9 cm stood out. Due to the weakened tension of the base, there was a tuberous deformation of the canvas, the breaks from the stripping planes appeared. The surface of the painting was defeated by hard soil craquelure with raised edges, in separate areas there were oil ruptures.
It has been established laboratory that the picture in the process of existing was covered with varnishes of four different compositions, including a mastix, which eventually quickly acquires a thick iodine hue. The radiograph showed that the extensive recording on the image of the forehead hides a small breakthrough with a small loss of a colorful layer and soil.
Complex of the events:
A feature of the restoration of this picture was a change in the traditional sequence of measures: first, the surface was cleared from thick layers of varnishes and records, and then preservation of painting and duplication of the base was performed. The thickening of the varnish was carried out in layers, with advancement from left to right to the border of the image of the forehead. Then, after the record, a horizontal pit with a step layout of all layers of recording was made. After complete removal of the recording, the quenching and alignment of the varnish layer over the entire surface was continued.
After clearing, the colorful layer, laying of craquelure, elimination of deformations and duplication of the foundation that gave the perfect result were performed. The picture was stretched on a new subframe, the loss of a colorful layer was flared up, and then toned with oil paints according to a pre -applied lacquer.
Keeping a story. Restoration workshop of the Russian Museum – 100 years. SPb, 2022. With. 90.
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