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| acanthuslabs.com |
The title of this posting comes from a recent National Public Radio broadcast of
The Story, in which New York art restorer Dianne Dwyer Modestini described receiving a many-layered and almost cartoonish painting from an art dealer in 2005. The painting was so overworked that Modestini initially suggested that one of her students work on it, but she was finally persuaded to take on the project herself.
The subject of the painting is Jesus Christ portrayed as
Salvator Mundi, which in Italian means "Saviour of the World." To merit the title, a painting must show one hand in a gesture of blessing while the other holds an orb symbolizing the world.
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| acanthuslabs.com | theartnewspaper.com |
The one area of
Salvator Mundi that was not badly obscured was the raised hand, which had the look of Leonardo da Vinci's style. As Modestini removed layers of varnish and paint, she saw that the artist had changed the position of the thumb. When an artist makes a correction to his own work such as this, it's called "pentimenti," and to Modestini it was an indication that the painting was an original work and not a copy of another painting.
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| acanthuslabs.com | The World of Leonardo, Time-Life |
As she worked removing discolored varnish around the
Salvator Mundi mouth, the restorer was looking at an enlargement of the Mona Lisa's mouth. It was then that Dianne Modestini came to the realization that she was probably uncovering the first da Vinci painting to be discovered in 100 years. At that point, and before final restoration, the painting was authenticated by da Vinci scholars.
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| thehistoryblog.com |
Da Vinci was known to have painted
Salvator Mundi between 1490 and 1519, and by the 17th century it belonged to England's King Charles I. Charles' widow, Henrietta Maria, asked Wenceslaus Hollar to make an engraving of Leonardo's
Salvator Mundi (above), and a comparison between the engraving and Modestini's project was a vital part of the authentication process.
The painting passed from King Charles II to the Duke of Buckingham by 1660, and was sold by the Duke's descendants in 1783.
The location of
Salvator Mundi between 1783 and 1900 is unknown, and perhaps it was in this period that someone tampered with the painting, essentially hiding it from view.
In 1900, Frederick Cook bought the painting, and in 1958 his descendants sold it in a lot for the equivalent of $100, to a buyer named Kuntz. It was in turn sold to an American family who sold it in 2005, at which time it was brought to Modestini for restoration.
The painting is one of 16 surviving da Vinci's, and is currently valued between $100-200-million.
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Salvator Mundi and a detail from The Last Supper | acanthuslabs.com | dailymail.co.uk
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Today Leonardo's
Salvator Mundi is owned by R. W. Chandler and is on loan to London's National Gallery, where it was displayed this year.
According to CNN, when the conservator Dianne Dwyer Modestini was finished with the restoration and parted with
Salvator Mundi, she "described suffering separation anxiety and depression over losing
the painting, and with it her connection to the enigmatic painter who
was its author."
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Interesting story, Mark. I'm particularly captivated by the restorer's separation anxiety after finishing the painting. I've alway felt that original artwork has a life, an energy--perhaps a little bit of the soul of the painter--that stays with it. I can totally understand that sentiment.
ReplyDeleteHello, Steve,
DeleteAs I listened to Modestini tell her story, I imagined how close she must have felt to Leonardo, and I imagine that the process of conservation and restoration must have seemed almost like a conversation with him. That would certainly have made quite an emotional impact.
Some years ago I was standing in front of Leonardo's Annunciation at the Uffizi. The Uffizi allows viewers to get very close to the artwork, and at some point, I realized that I was standing in Leonardo's space, relative to his executing the painting. I was overcome with emotion then, and I imagine Modestini would have felt that same emotion, quadrupled.
What an amazing discovery! For everyone, but especially scholars and the art world. I hope Dianne Dwyer Modestini gets visiting rights for uncovering such an important piece. I was not familiar with the term "pentimenti." Learned much here today.
ReplyDeleteLoi
Hello, Loi,
DeleteI did not find a photo of Slavator Mundi before its restoration, but that would have been interesting for the sake of comparison. Modestini's story gives hope that there might be one or two undiscovered da Vincis yet to be found!
Mark
Dear Mark - great post.
ReplyDeleteI can well imagine that for Dianne Dwyer Modestini it must have seemed almost like a bereavement having spent so much time researching and cleaning such a wonderful work of art.
I recall reading that one of the clinches for its authenticity was the transparent orb. It was considered far too brilliantly painted to be the work of one of his disciples. Leonardo was said to be obsessed with problems of how to create translucent effects in painting, and how to capture the mysteries of light.
Dear Rosemary,
DeleteI suppose a lesser artist would concentrate on some shiney reflection, but as I look at that orb, I'm drawn to the subtle reflection of light on the palm of the hand and on the finger tips. So brilliant, and one has to wonder whether Leonardo might have actually held a glass or crystal orb. I'll bet he did!
Oh, I meant to relate that Modestini said that the eyes were painted directly on the white ground with so many layers of glaze that actual brush strokes were virtually indecipherable. I'm guessing that Leonardo started with the eyes.
DeleteMark I love stories that relate to found works of art; probably a dream of discovering one myself. I can imagine for a restorer to uncover ever so slowly a masterpiece and then upon finishing it, letting it go to the owner or museum; it could be devastating!
ReplyDeletexoxo
Karena
Art by Karena
Hi, Karena!
DeleteModestini described parting with the painting as being every bit as difficult as having a long personal relationship coming to a sudden end. xoxo
Mark, you certainly picked a good image to represent suffering separation anxiety and depression.
ReplyDeleteHello, Scott - Thanks for picking up on that. I'm sure the restorer fondly remembers every curl of every tress.
DeleteIt is a fascinating story. I, too, would be interested in seeing a pre-restoration image.
ReplyDeleteHello, DC,
DeleteAccording to Parnassus (the comment below), the image is out there for the viewing. Perhaps I've already seen it myself and did not recognize it — apparently the overpainting was truly awful.
An exciting discovery. I wonder how much of the original paint surface is actually extant. Most old paintings are considerably restored, and this one seems to have sustained a lot of damage. I looked at one video about it, that showed the ludicrous-looking original overpainting, but did not discuss the extent of the current restoration.
ReplyDeleteWe'll have to watch out for future research on this painting.
--Road to Parnassus
Hello, Parnassus,
DeleteThe damage to the painted surface is only half the story. The wood was split, and it took about a year to piece it back together. Modestini had the difficult task of filling in some areas where there was no paint, a talent that required her to guess how Leonardo would have worked. Talk about pressure!
Fascinating story. But how does one paint the crystal orb? The mechanics are an mystery to me. I also think to modern eyes Jesus looks rather unapproachable.
ReplyDeleteHello, smr,
DeleteThe mechanics of painted realism is largely to create illusions through light and shadow. As I mentioned above, I believe Leonardo knew that the key for his orb's realism was the way it cast light on the fingers and palm of the hand. Place your own hand over the hand holding the orb, obscuring the hand, and you'll see that there's little left to see of the orb. The illusion has everything to do with the hand.
When I saw the price at which this work of art is valued today, my mouth dropped open and I muttered an unlady-like expletive.
ReplyDeleteWow. Imagine you are one of the descendants that sold this in a 'lot' for 100 bucks.
Think what might have happened had a less talented restorer gotten his or her hands on this delicate operation.
It is not all that incredible to think, I suppose, that so few Da Vinci paintings still exist. What a fabulous story, Mark. Thank you for sharing.
Hi, Yvette,
DeleteI thought about those descendants too, and what they must be feeling now! But what I don't understand is how a work by da Vinci ever got its overpainting. Somewhere along the line its authorship must have been lost, but who — even not knowing it was a da Vinci — would want to "improve" upon such an image?
Hi Mark,
ReplyDeleteI'm not surprise to read that DDM suffered from being separated from the painting - I empathize and sympathize with her, but what a great experience she has lived. Great post.
Anyes
XX
DDM will never run out of dinner conversation, I'm sure!
Delete