Skip to Main Content
Home>National Gallery of Art Communications Office>Exhibitions>Verrocchio: Sculptor and Painter of Renaissance Florence>Conservation Images

Press Images

File name: cosimo-floor-marker.jpg
Andrea del Verrocchio, Tomb of Cosimo de' Medici (1464–1467, Church of San Lorenzo, Florence)

File name: xrf-analysis-cosimo-tomb.jpg
Lisha Glinsman, conversation scientist in the scientific research department at the National Gallery of Art, analyzes one of the shields in the floor marker of Andrea del Verrocchio's Tomb of Cosimo de' Medici (1464–1467, Church of San Lorenzo, Florence) using portable x-ray fluorescence spectroscopy (XRF).

File name: giovanni-piero-tomb.jpg
Andrea del Verrocchio, Tomb of Giovanni and Piero de' Medici (c. 1470–1473, Church of San Lorenzo, Florence)

File name: xrf-giovanni-piero-tomb.jpg
Dylan Smith, Robert H. Smith research conservator in the department of object conservation (at top on a temporary scaffold), analyzes the grille of Andrea del Verrocchio's Tomb of Giovanni and Piero de' Medici (c. 1470–1473, Church of San Lorenzo, Florence) using portable x-ray fluorescence spectroscopy (XRF).

File name: crucifix.jpg
Andrea del Verrocchio, Crucifix (c. 1475, Museo Nazionale del Bargello, Florence)

File name: fors-crucifx.jpg
Lisha Glinsman, conservation scientist in the scientific research department at the National Gallery of Art, and Daphne Barbour, senior conservator of objects at the National Gallery of Art, analyze paint layers on Andrea del Verrocchio's Crucifix (c. 1475, Museo Nazionale del Bargello, Florence) using fiber optic reflectance spectroscopy (FORS).

File name: resurrection.jpg
Andrea del Verrocchio, The Resurrection of Christ (c. 1470, Museo Nazionale del Bargello, Florence)

File name: fors-resurrection.jpg
Dylan Smith, Robert H. Smith research conservator in the department of object conservation at the National Gallery of Art examines the paint layers in the blue background of Andrea del Verrocchio's The Resurrection of Christ (c. 1470, Museo Nazionale del Bargello, Florence) using fiber optic reflectance spectroscopy (FORS).

File name: fors-resurrection2.jpg
Lisha Glinsman, conservation scientist in the scientific research department at the National Gallery of Art, examines the paint layers on one of the soldiers from Andrea del Verrocchio's The Resurrection of Christ (c. 1470, Museo Nazionale del Bargello, Florence) using fiber optic reflectance spectroscopy (FORS).

File name: fors-madonna.jpg
Lisha Glinsman, conservation scientist in the scientific research department at the National Gallery of Art, analyzes the paint layers on Andrea del Verrocchio's polychrome terracotta Madonna and Child (c. 1475, Museo Nazionale del Bargello, Florence) using fiber optic reflectance spectroscopy (FORS).

File name: madonna-examination.jpg
Dylan Smith, Robert H. Smith Research Conservator in the department of object conservation at the National Gallery of Art visually examines Andrea del Verrocchio's terracotta Madonna and Child (c. 1475, Museo Nazionale del Bargello, Florence).

File name: nga-putto-examination.jpg
Shelley Sturman, head of object conservation at the National Gallery of Art, and Dylan Smith, Robert H. Smith Research Conservator in the department of object conservation at the National Gallery of Art examine the underside of Andrea del Verrocchio's Putto Poised on a Globe (c. 1480, National Gallery of Art, Washington, Andrew W. Mellon Collection) in the object conservation lab.

File name: inpainting-madonna.jpg
Ute Stehr, painting conservator at the Staatliche Museen zu Berlin, Gemäldegalerie inpainting the Madonna and Child (c. 1470/1472, Staatliche Museen zu Berlin, Gemäldegalerie) that is attributed to Andrea del Verrocchio or Pieto Perugino. Photograph by Maria Zielke.

File name: ruskin-tracing.jpg
Diagram of perspective lines in Madonna Adoring the Christ Child (The Ruskin Madonna) (c. 1475/1480, National Galleries of Scotland). Diagram by Elizabeth Walmsley, senior painting conservator, National Gallery of Art.

File name: tobias-angel.jpg
Visible reflectance imaging spectroscopy, using equipment from the National Gallery of Art to study Andrea del Verrocchio's and Leonardo da Vinci's Tobias and the Angel (c. 1470, The National Gallery, London, Bought, 1857).

File name: tobias-angel2.jpg
Visible reflectance imaging spectroscopy, using equipment from the National Gallery of Art to study Andrea del Verrocchio and Leonardo da Vinci's Tobias and the Angel (c. 1470, The National Gallery, London, Bought, 1857).

File name: tobias-angel3.jpg
High-resolution infrared reflectography, using equipment from the National Gallery of Art to study Andrea del Verrocchio and Leonardo da Vinci's Tobias and the Angel (c. 1470 at The National Gallery, London, Bought, 1857).

File name: tobias-angel4.jpg
High-resolution infrared reflectography, using equipment from the National Gallery of Art to study Andrea del Verrocchio and Leonardo da Vinci's Tobias and the Angel (c. 1470, The National Gallery, London, Bought, 1857).

File name: verrocchio-madonna-child.jpg
(Left) Andrea del Verrocchio's Madonna and Child (c. 1465/1470, Staatliche Museen zu Berlin, Gemäldegalerie © bpk Bildagentur / Staatliche Museen, Berlin / Jörg P. Anders./ Art Resource, NY). (Right) Map of lead white associated with the dark green mantle from analysis of the infrared reflectance image cube. Fiber optic reflectance spectra from sites in the area defined by the map found evidence that the mantle was painted with a drying oil.

File name: verrocchio-madonna-child-false-color-image.jpg
(Left) Detail of Andrea del Verrocchio's Madonna and Child (c. 1465/1470, Staatliche Museen zu Berlin, Gemäldegalerie, © bpk Bildagentur / Staatliche Museen, Berlin / Jörg P. Anders./ Art Resource, NY). (Right) The false-color composite image of the painting obtained with the Gallery's infrared reflectance imaging camera.

File name: ghirlandaio-madonna-child.jpg
(Left) Domenico Ghirlandaio's Madonna and Child (c. 1475, National Gallery of Art, Washington, Samuel H. Kress Collection) undergoing elemental mapping. (Middle) Detail of brocade on the Virgin's sleeve. (Right) Element maps showing the use of mosaic gold paint (inferred from tin, Sn), lead tin yellow paint (co-localization of Sn and lead, Pb), and metallic gold leaf (Au).

File name: baptism1.jpg
Infrared reflectance imaging spectroscopy, using equipment from the National Gallery of Art to study Andrea del Verrocchio's The Baptism of Christ (1472–1475, Uffizi Gallery, Florence).

File name: baptism2.jpg
Infrared reflectance imaging spectroscopy, using equipment from the National Gallery of Art to study Andrea del Verrocchio's The Baptism of Christ (1472–1475, Uffizi Gallery, Florence).

File name: foot-christ-false-color-image.jpg
(Left) Color detail of the foot of Christ in Andrea del Verrocchio's The Baptism of Christ (1472–1475, Uffizi Gallery, Florence). (Right) Infrared false-color composite image of the foot of Christ in Andrea del Verrocchio's The Baptism of Christ (1472–1475, Uffizi Gallery, Florence) showing the sculptural quality of the modeling underlayers.

File name: john-baptist-false-color-image.jpg
(Left) Color detail of the head of John the Baptist in Andrea del Verrocchio's The Baptism of Christ (1472–1475, Uffizi Gallery, Florence). (Right) Infrared false-color composite image of the head of John the Baptist in Andrea del Verrocchio's The Baptism of Christ (1472–1475, Uffizi Gallery, Florence).

File name: two-angels-false-color-image.jpg
(Left) Color detail of the two angels in Andrea del Verrocchio's The Baptism of Christ (1472–1475, Uffizi Gallery, Florence). (Right) Infrared false-color composite image of the two angels in Andrea del Verrocchio's The Baptism of Christ (1472–1475, Uffizi Gallery, Florence).

*
*
*
*
*
 
*
 
 

Groundbreaking Scientific Research and Technical Study of Verrocchio's Masterpieces Revealed in Newly Published Exhibition Catalog

Usage: Images are provided exclusively to the press, and only for purposes of publicity for the duration of the exhibition at the National Gallery of Art. All published images must be accompanied by the credit line provided and with copyright information, as noted.

Important: The images displayed on this page are for reference only and are not to be reproduced in any media. To obtain images and permissions for print or digital reproduction please provide your name, press affiliation, and all other information as required(*) utilizing the order form at the end of this page.

Links to download the digital image files will be sent via e-mail. Please use the captions and credits below as listed.

Please include a brief description of the kind of press coverage planned and your phone number so that we may contact you. Please allow a minimum of one full business day for image requests.