ANKARA/ISTANBUL
As the massive works of Peter Paul Rubens and Rembrandt are restored before the eyes of visitors, the experts involved describe the unique experience as both "inspiring and stressful."
Rembrandt's The Night Watch and Peter Paul Rubens' Enthroned Madonna Adored by Saints stand out as two monumental works in art history.
Rubens' painting, displayed at the Royal Museum of Fine Arts Antwerp in Belgium, measures 6 by 4 meters (20 ft x 13 ft), while Rembrandt's masterpiece, located in the Rijksmuseum in Amsterdam, the Netherlands, measures 3.63 by 4.37 meters (12 ft x 14.3 ft).
These colossal works, with their rich details, dramatic light-and-shadow plays, and dynamic compositions that draw viewers in, offer spectators a close look at the art preservation process.
The restoration process
In the first step of restoration, art historians research the painting's history, techniques, and materials used by the artist, while scientists perform various analyses to determine the artwork’s current condition.
Through X-ray and ultraviolet scans, the lower layers of the painting and any previous interventions are examined in detail. Chemical analyses help determine the composition of the paints, varnishes, and priming materials.
After the tests are conducted, the appropriate methods for the process are determined and a restoration plan is established.
Dirt and old varnish accumulated over time are cleaned under a microscope, and cracks and missing sections are filled in a way that aligns with the artist’s style.
Finally, the work is coated with a protective layer of varnish, ensuring visual unity and safeguarding against potential future damage.
Rembrandt’s The Night Watch
Nienke Woltman, an art conservation specialist on The Night Watch restoration team, told Anadolu that the challenges they faced in the project stemmed from the size and significance of the painting, describing working in front of an audience as both "inspiring and stressful."
Woltman said that although they couldn’t hear the visitors, they could feel their eyes on them.
"We really had to get used to it. But in the museum, as you saw, they really made this nice glass wall. So, where we are working, it's very quiet.
"I think it's very important,” explained Woltman, pointing out that if the space they are working is not quiet, the restoration artists face challenges concentrating to the extent they would like.
Woltman explained that the painting was hung on a special canvas that could move left, right, up, and down for the restoration process. She also noted that they are able to access difficult areas to reach with the use of two separate elevators set up in front of the canvas.
Light and shadow in Rembrandt’s paintings
Woltman emphasized that many tests were conducted to preserve the chiaroscuro (light-and-shadow play) frequently seen in Rembrandt’s works. She said that avoiding damage to the original painting was their top priority.
"That's also why this project is taking quite a long time because we are doing so many tests and really making sure with a lot of scientific machines," she said, noting their goal was to highlight the original painting with a new varnish and minimal retouching.
Woltman pointed out that Rembrandt’s style was different from that of other painters of the period.
"There's a long tradition of militia paintings in the Netherlands. That's also the case for the militia group you see on the Night Watch. But, they were usually painted in very static postures."
She added that contrary to popular belief, the painting may have depicted a daytime scene rather than a night one.
"We're not entirely sure, but it is very possible. The name of the Night Watch was given much later. So, it's not the title that Rembrandt gave to this painting,” Woltman explained, adding that it was named at a point in time when the varnish of the painting was also very yellow.
"So, they could have mistaken the darkness of the painting for a nighttime scene. But we just are not sure," she said.
As for how Rembrandt might react to the restoration, Woltman joked: "I think he would turn in his grave and say, ‘What are you doing? Just leave my painting alone!’ But then I also hope that at the end of the project, he would maybe think, ‘Okay, well, you did good’."
Challenges in restoring Rubens’ work
Curator Koen Bulckens and restorer Ellen Keppens, a member of the team responsible for restoring Enthroned Madonna Adored by Saints, shared insights into the meticulous efforts involved in the restoration process with Anadolu.
Bulckens recalled that Rubens focused on creating large altarpieces for churches and said that thanks to the spacious venue, they were able to begin the restoration process for this work.
Curator Bulckens said that working on a painting of this size requires a "different approach" at every stage.
From positioning the painting to cleaning it, everything is done in coordination with the team, Bulckens added.
Keppens explained that due to the size of the painting, they were unable to work on it while it was lying flat and had to keep it upright at all times, describing the process as physically and mentally exhausting.
She said they constantly had to climb up and down scaffolding or work in uncomfortable positions to continue the restoration process, while also describing the experience of working in public as being both inspiring and stressful.
"It's nice to have the interaction with the visitors. But, on the other hand, it's always a bit noisy," said Keppens.
Keppens noted that when the varnish was removed, the original colors appeared more matte, which sparked curiosity among visitors.
She said that they have to explain that the matte is actually the original color, and they apply new varnish to make all the colors appear vibrant.
Details unveiled by technology
Curator Bulckens explained that with the development of technology, they are able to visualize layers of paint not visible to the naked eye, which has helped uncover parts of the original drawing that were later modified.
Keppens elaborated on this aspect of the restoration process, saying: "An area on the upper part of the painting (has) angels painted there, but in a very confusing, messy way, … we now can see.”
"We also see these black spots. We could see it's something underneath, but we couldn't explain what it was,” she said, explaining that with a new method of scientific research, they were able to uncover in the image “that actually the angels were first painted with… black wings.”
"And then Rubens changes his mind and covers it up,” she pointed out, sharing: “Through aging, actually oil paint gets thinner and a bit more transparent. And that's why we (can) actually see these black wings."
Keppens emphasized that if restoration techniques and approaches change in the future, the work they are doing now is reversible, and it is important for future conservators to be able to work easily.
"I hope he (Rubens) would be very pleased. After so many centuries, people are still loving his work and give it so much time and treatment and care," Keppens concluded.
The restoration of Rubens' Enthroned Madonna Adored by Saints is expected to be completed this summer, which will be the conclusion of an approximately two-year process.
