AIC's 46th Annual Meeting

The Raising of the Cross, an oil painting on paper, was painted by Rubens for the production of an engraving by Jan Witdoeck and the image is based on the triptych of the same title, now in the Cathedral of our Lady in Antwerp and painted by Rubens in 1610-11. The sketch was acquired in 1928, as an 'oil on canvas' by the Art Gallery of Toronto as it was called, from the Holford Collection through Christie’s London. The painting was ‘cleaned’ by Thos. Agnew and Sons, London prior to the sale. Extensive restoration followed: first in 1937 in New York City and, after two thefts in 1954 and 1959, at the Art Gallery of Ontario. It is not known at what point the paper was lined to canvas but it is currently glue lined to cotton canvas. Restoration methods followed the traditions of painting conservation and the paper support at some point became obscured by extensive overpainting. Documentation and understanding of the work was essential to complex decisions of removal and the reconstruction of areas that suffered loss of form and detail. Interruptions in the surface tonality by discoloured retouchings and the discontinuity and flattening of form due to severe abrasion and loss of surface paint interfered with one’s appreciation of the work. Scientists at the Canadian Conservation Institute provided support in the initial investigations and at intervals in the treatment process by undertaking non-invasive x-ray fluorescence and analysis of samples as required. Samples were analyzed by Fourier transform infrared spectroscopy, polarized light microscopy, Raman spectroscopy, scanning electron microscopy/energy dispersive spectrometry and, in one case, by pyrolysis-gas chromatography-mass spectrometry. Infrared Reflectography (OSIRIS) was carried out by Rachel Billinge, National Gallery, London. Removal of restoration additions was challenging and time consuming and areas of ambiguity remain untouched. Recent work exposes at least some of the original intentions of the artist. Much of the paper support however modified in colour and texture, now contributes to the final image. The leached and damaged paint layers were minimally saturated with MS2A and retouching carried out with watercolour. The relationship of the sketch to the engraving and to the earlier painting will be discussed. Both informed the finish of the AGO painting. Several pentimenti remain visible and reveal the working method of the artist. The painting was reframed in a new frame to conceal the eight centimeter extension at the top border which is not by Rubens.