Skip to Main Content

Facture Volume 1: Renaissance Masterworks

Edited by Daphne Barbour and E. Melanie Gifford

The inaugural issue of Facture brings together the recent work of Gallery conservators, scientists, and curators centered on Renaissance painting, sculpture, textiles, and works on paper in the Gallery's collection.

Jan van Eyck, The Annunciation, c. 1434-1436

Jan van Eyck, The Annunciation, c. 1434–1436, oil on panel transferred to canvas, National Gallery of Art, Andrew W. Mellon Collection. Details of the Virgin's robe: (left) after cleaning, with paint losses inpainted but before compensating for the missing blue glaze; (center) infrared reflectogram used to guide final recreation of the glaze (images collected with a Kodak platinum silicide camera configured to 1500–2000 nm); (right) after treatment, with the missing blue glaze recreated in reversible materials.

South Netherlandish, The Triumph of Christ ("The Mazarin Tapestry"), c. 1500

South Netherlandish, The Triumph of Christ ("The Mazarin Tapestry"), c. 1500, wool, silk, gilt-foil-wrapped silk yarn, National Gallery of Art, Widener Collection. Detail, trio of pages: false-color image obtained from the hyperspectral image cube. Spectral differences based on different secondary protein structures are reflected in the false-color image, where white areas correspond to silk fibers, purple areas correspond to wool fibers, and green areas correspond to metal threads.

facture Designi

Giorgio Vasari with drawings by Filippino Lippi and Sandro Botticelli, Page from Libro de' Disegni (recto), drawings probably 1480–1504, mounting and framework by Vasari after 1524, album page with four drawings in various media with decoration in pen and brown ink, brown wash, over black chalk, National Gallery of Art, Woodner Collection, Patrons' Permanent Fund. Detail, Filippino Lippi, Various Figure Studies, c. 1493/1495. Filippino's drawing is depicted in color and Vasari's framing in gray scale.

Andrea del Verrocchio and Orsino Benintendi, Lorenzo de' Medici, 1478/1521

Florentine, probably after a model by Andrea del Verrocchio and Orsino Benintendi, Lorenzo de' Medici, 1478/1521, painted terracotta, National Gallery of Art, Samuel H. Kress Collection, during treatment, half-cleaned


A Page from Giorgio Vasari's Libro de' Disegni as Composite Object
Kimberly Schenck, Barbara Berrie, John K. Delaney, Paola Ricciardi, and John Witty III

A Renaissance of Color: The Conservation of Lorenzo the Magnificent
Michael Belman, Alison Luchs, and Shelley Sturman

Italian Renaissance Paintings Restored by Duveen Brothers Inc., c. 1927–1929
Elizabeth Walmsley

Jan van Eyck's Washington Annunciation: Painting Materials and Techniques
E. Melanie Gifford, Catherine A. Metzger, and John K. Delaney

Technical Study of The Triumph of Christ ("The Mazarin Tapestry")
Julia M. Burke, Lisha Deming Glinsman, John K. Delaney, Suzanne Quillen Lomax, Kathryn M. Morales, Michael Palmer, Christina Lynn Cole, and Paola Ricciardi

One of Many: A Cartapesta Relief of Jacopo Sansovino
Judy L. Ozone

In Focus

The Cleaning and Restoration of Van Eyck's Washington Annunciation
David Bull

Reconstructing the Casting Technique of Severo da Ravenna's Neptune
Dylan Smith

You May Also Like

Contact us at [email protected] or Conservation Division, National Gallery of Art, 2000B South Club Drive, Landover, MD 20785