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Sandro Botticelli, Portrait of Giuliano de’ Medici, c. 1478, tempera on wood, 56.8 x 38.5 x c. 1.3 cm, painted surface: 54.5 x 36.4 cm, Gemäldegalerie, Staatliche Museen zu Berlin

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Superimposed tracings of the profile of Giuliano in the three portraits: Washington (green), Bergamo (blue), and Berlin (pink).

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Infrared reflectogram of Portrait of Giuliano de’ Medici (Bergamo), showing features of the painter’s working methods.

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X-radiograph of Portrait of Giuliano de’ Medici (Washington), showing three battens inserted into the reverse of the wood panel.

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Infrared reflectogram of Portrait of Giuliano de’ Medici (Washington), showing features of the painter’s working methods.

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Innsbruck, second half of the 16th century, after Leone Leoni (authors’ attribution), Emperor Charles V, bronze, height 109 cm, National Gallery of Art, Washington, Samuel H. Kress Collection

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Leone Leoni, Charles V, cast 1554, bronze, height 112 cm, Museo Nacional del Prado, Madrid

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Leone Leoni, Charles V, c. 1554–1555, bronze, height 113 cm, Kunsthistorisches Museum, Vienna

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Leone Leoni, Charles V, c. 1554–1559, bronze, height 95.3 cm, Royal Collection Trust, Windsor

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Innsbruck, second half of the 16th century, after Leone Leoni (authors’ attribution), Charles V, bronze, height 51 cm, Collection of Ladislaus E. Graf Batthyány, Bürgerstiftung Güssing, Burgenland, Austria

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Mellon Mercury atop fountain in the Rotunda of the National Gallery of Art, Washington.

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Giambologna, Mercurio Volante, Museo Nazionale del Bargello, Florence

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Giambologna, Mercury, 1563–1564, bronze, height 56 cm, Museo Civico Medievale, Bologna

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Giambologna, Mercury, c. 1585, bronze, height 62.7 cm, Kunsthistorisches Museum, Vienna

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Detail of Mellon Mercury, showing Zephyr and breath of air.

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Two x-radiographs of the Mellon Mercury showing tapered sides of Roman joints (sleeve joins) present in the left thigh and the right arm. Dotted lines show location of other similar joins on the sculpture.

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Auguste Rodin, The Death of Alcestis, model c. 1898, bronze (founder not known) c. 1902, 37 x 23.5 x 17.1 cm, Museum of Fine Arts, Boston, Bequest of Major Henry Lee Higginson

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Auguste Rodin, The Death of Alcestis, model c. 1898, marble carved by François Pompon 1908–1911, 85 x 35 x 77 cm, Schloss Landsberg, Ratingen, Germany

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Auguste Rodin, Fleeting Love (L’Amour qui passe), plaster, cast from a marble carved before 1893, 39.3 x 37.1 x 25.1 cm, Musée Rodin, Paris

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Auguste Rodin, Woman and Child, model c. 1885, marble carved c. 1900–1901, 43.2 x 44.4 x 33.1 cm, National Gallery of Art, Washington, Gift of Mrs. John W. Simpson

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Auguste Rodin, Galatea, 1887–1889, marble, 60.8 x 40.6 x 39.5 cm, Musée Rodin, Paris

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Camille Claudel, Young Girl with a Sheaf, c. 1886, terracotta, 35.6 x 18.5 x 20.7 cm, Musée Rodin, Paris

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Auguste Rodin, The Benedictions, model before 1894, marble carved by Jean Escoula 1900, 91 x 82 x 54.5 cm, Calouste Gulbenkian Museum, Lisbon, Founder’s Collection

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Auguste Rodin, The Benedictions, model before 1894, marble carved by Louis Mathet and Victor Peter 1894–1911, 91 x 60 x 76 cm, Musée Rodin, Paris

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Vincent van Gogh, Marcelle Roulin, 1888 (F441a), oil on canvas, 36.0 x 24.9 cm, private collection

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Vincent van Gogh, Marcelle Roulin, 1888 (F441), oil on canvas, 35.2 x 24.4 cm, Van Gogh Museum (Vincent van Gogh Foundation), Amsterdam

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Vincent van Gogh, Roulin’s Baby, 1888 (F440), oil on canvas, 35.0 x 23.9 cm, National Gallery of Art, Washington, Chester Dale Collection

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Digital overlay of the three portraits of Marcelle Roulin, in which the contours of the Amsterdam (red) and Washington (green) versions are superimposed onto an image of the painting in a private collection.

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Portrait of Marcelle Roulin, in raking light. Private collection

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Portrait of Marcelle Roulin, in raking light. Amsterdam

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Portrait of Marcelle Roulin, in raking light. Washington

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Edward Steichen, Khor, the President of the Oochen Republic, opaque watercolor and ink over graphite on paperboard, 26.99 x 20.32 cm, c. 1922, National Gallery of Art, Washington, Gift of Joanna T. Steichen

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Edward Steichen, The Colossal Deep Sea Ludicrocerous, opaque watercolor and ink over graphite on paperboard, 24.13 x 21.11 cm, c. 1922, National Gallery of Art, Washington, Gift of Joanna T. Steichen

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Edward Steichen, Mushton Shlushley, the Lyric Poet and Aestheticurean, opaque watercolor and ink over graphite on paperboard, 23.81 x 20.64 cm, c. 1922, National Gallery of Art, Washington, Gift of Joanna T. Steichen

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Edward Steichen, The Peeping Gagaboo, opaque watercolor and ink over graphite and red colored pencil on paperboard, 25.4 x18.42 cm, c. 1922, National Gallery of Art, Washington, Gift of Joanna T. Steichen, after treatment.

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Edward Steichen, The Peeping Gagaboo, opaque watercolor and ink over graphite and red colored pencil on paperboard, 25.4 x 18.42 cm, c. 1922, National Gallery of Art, Washington, Gift of Joanna T. Steichen, digital reconstruction of the first version.

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Edward Steichen, The Peeping Gagaboo, opaque watercolor and ink over graphite and red colored pencil on paperboard, 25.4 x18.42 cm, c. 1922, National Gallery of Art, Washington, Gift of Joanna T. Steichen, before treatment.

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Jean Dubuffet carving polystyrene with one of his purpose-built hot wire tools, Paris, 1970.

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Jean Dubuffet’s studio album no. 4, entry dated September 24, 1969, showing plans for Site arborescente, which became Vegetation arborescente.

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Jean Dubuffet in Richard Dhoedt’s studio with the finished enlargement of Site à l’homme assis, 1984.

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Jean Dubuffet’s Site à l’homme assis installed in the East Building of the National Gallery of Art, 2017.

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Robert Rauschenberg, Mule, 1974, offset lithograph transferred to collage of paper bags, cheesecloth, muslin, silk, and satin, 165.1 x 91.4 cm, National Gallery of Art, Washington, Gift of Gemini G.E.L. andthe Artist, 1991

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Robert Rauschenberg, Ringer, 1974, offset lithograph and screenprint transferred to collage of paper bag, cheesecloth, China silk, silk, and satin, 177.8 x 91.4 cm, National Gallery of Art, Washington, Gift of Gemini G.E.L. and the Artist, 1981

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Robert Rauschenberg (right) arranging pages from magazines and newspapers on the press bed at Gemini G.E.L. during a proofing session for Hoarfrost Editions, September 1974.

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Annotated Polaroid photographs showing the steps to print and assemble an edition print of Ringer. Hoarfrost Editions technical material, Gemini G.E.L. archive, National Gallery of Art.

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Paolo Veronese, The Finding of Moses, c. 1580, oil on canvas, 56.5 x 42.5 cm, National Gallery of Art, Washington, Andrew W. Mellon Collection

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Paolo Veronese, The Finding of Moses, c. 1580, oil on canvas, 57 x 43 cm, Museo Nacional del Prado, Madrid

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X-radiograph composite of Finding of Moses (Washington), showing vertical folds in the skirt of Pharaoh’s daughter’s dress stopping at the swath of green fabric and beginning again below it.

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Details of the dress of Pharaoh’s daughter, showing how closely they align. (Left) Studies for The Finding of Moses. (Center) X-radiograph composite of Finding of Moses (Washington) with earlier version highlighted. (Right) Finding of Moses (Washington).

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Conservation Journal "Facture" Explores Series, Multiples, and Replicas

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