{"id":13078,"date":"2017-09-05T10:40:33","date_gmt":"2017-09-05T08:40:33","guid":{"rendered":"https:\/\/www.arttrav.com\/?p=13078"},"modified":"2018-11-20T08:18:59","modified_gmt":"2018-11-20T07:18:59","slug":"restoration-pontormo-deposition","status":"publish","type":"post","link":"https:\/\/www.arttrav.com\/florence\/restoration-pontormo-deposition\/","title":{"rendered":"The restoration of Pontormo\u2019s Deposition"},"content":{"rendered":"

When you need to restore a Pontormo<\/strong>, Simonetta Brandolini d’Adda, President of the not-for-profit Friends of Florence Foundation<\/strong>, is the woman to call. Thanks to her, I recently had the opportunity to visit Pontormo\u2019s Deposition<\/em><\/strong> in the studio of Daniele Rossi<\/strong>, where its restoration, and that of the entire Capponi Chapel, has been sponsored by board members of the Foundation, Kathe and John Dyson, for \u20ac105,000. This is the third major Pontormo project these generous individuals are behind.<\/p>\n

\"pontormo-deposition-restorers\"
Daniele Rapino (left) with restorer Daniele Rossi (right) in his studio in front of the Pontormo<\/figcaption><\/figure>\n

What I saw that day was a bright canvas, with plenty of depth, and an impressive gold frame that will set it off brilliantly when the two are reunited. Anyone used to seeing this work in the Capponi chapel will remember it in other terms. That\u2019s the genius of restoration.<\/p>\n

<\/p>\n

Capponi Chapel History<\/h2>\n

But before we get to looking at the altarpiece, let\u2019s go over the history of the chapel. The Capponi Chapel, the first on the right as you enter the church, was designed by Filippo Brunelleschi for the Barbadori family around 1420. The Capponi family took it over in 1525 and dedicated it to the Piet\u00e0. Lodovico Capponi commissioned Jacopo Carucci, known as Pontormo, to produce the decorative scheme for the chapel in 1526. Vasari tells us that Pontormo took three years to complete the work, finishing the chapel in 1528.<\/p>\n

\"The
The Capponi Chapel (Photo from www.wga.hu)<\/figcaption><\/figure>\n

The chapel consists of a large altarpiece on a poplar wood panel commonly referred to as representing a Deposition, two now detached frescoes of the Virgin Annunciate <\/em>and the Angel Gabriel<\/em> on the inside wall of the church, a 17th<\/sup>-century marble reliquary bust of San Carlo Borromeo, and on the ceiling, tondi<\/em> with the four Evangelists.<\/p>\n

The painting is to be a centrepiece of the forthcoming exhibition at Palazzo Strozzi<\/strong>, the Cinquecento in Florence<\/em>, which is due to run from September 21 2017 to January 21, 2018. In considering it for the show, and in the course of a regular inspection of the chapel, it became apparent that restoration was necessary.<\/p>\n

\"Detached
Detached frescoes (and frame) in restoration area inside the church, July 2017<\/figcaption><\/figure>\n

Daniele Rapino<\/strong> is the official of the Soprintendenza responsible for the Santo Spirito area. He points out that “the two detached frescoes were clearly coming away from their wall support and their brass screws were no longer fastening them to the wall.\u201d As for the altarpiece, a few cracks are apparent, and paint is lifting in some areas adjacent to these.<\/p>\n

\"The
The panel in late July 2017 – restoration is almost finished but there were still a few things to do, including a final coat of varnish.<\/figcaption><\/figure>\n

\u201cThe picture is also spoilt both by inconsistent oxidisation of the varnish that has built up over the years and by excessive repainting in the course of previous restorations. The frame and panel are riddled with holes caused by woodworm.\u201d Restoration began on February 27, 2017, and when I saw it in late July it lacked only some finishing touches, since it was to be transported to Palazzo Strozzi in early September.<\/p>\n

\"Detail
Detail of frame during restoration<\/figcaption><\/figure>\n

As with most restorations, much of the trouble comes from previous interventions<\/strong>, which might only rightly be called \u201crestoration\u201d in the past 60 years or so. Being considered one of the most important Mannerist paintings, the Deposition<\/em> by Pontormo has always been in the limelight, and hence has been restored often \u2013 every 100 years or so: 1620, 1725-8, 1820-25, 1936 and again in 1978. The \u201978 intervention was a simple disinfestation of woodworms and light surface varnish cleaning, so almost 100 years has gone by since the last more important intervention.<\/p>\n

\"Detail
Detail of the peculiar restoration studio of Daniele Rossi!<\/figcaption><\/figure>\n

New discoveries<\/h2>\n

When you go visit a restoration studio, you always hope the restorer is going to reveal something<\/strong> huge, like a hidden head that gives new meaning to a painting you\u2019ve studied. Nothing of the sort has happened here \u2013 being so famous, it would be pretty impossible to discover that massive. Rather, this restoration gives us further hints into Pontormo\u2019s working processes and debunks at least one myth, that of the scene being set in a flat, neutral space. Let\u2019s look at a few key points.<\/p>\n

Paint<\/strong>. Perhaps the biggest discovery is that this painting is not an oil on panel but a tempera. This technique was totally out of vogue when Pontormo painted it \u2013 tempera wasn\u2019t used much beyond the Quattrocento. So why did he use it? Daniele Rapino hypothesizes that \u201che takes it up, probably, we think, because it would have been easier for him to put it in rapport with the frescoes.\u201d<\/p>\n

\"The
The central area of the painting<\/figcaption><\/figure>\n

Borders<\/strong>. No traces of spolvero<\/em> (pouncing through holes in the cartoon) were found, while the artist seems to have favoured tracing clear lines. The linear dominates also in the way that he highlights borders (of limbs, fabrics, etc.) with a slightly darker colour paint to make them pop.<\/p>\n

\"So
So many blues<\/figcaption><\/figure>\n

Colour<\/strong>. You\u2019d expect tempera to produce flatter colours than oil, but that isn\u2019t the case here. A few interesting things can be said about the colour here. The first is that they were not intended to be this light \u2013 indeed they seem a bit pastel, but they weren\u2019t like that when Pontormo painted it \u2013 they would have been deeper and darker. Second, the colours have naturally mutated over time. There\u2019s an orangey-red that the restorers know are atypical of the artist, whose red had certainly more blue in it. Finally, the careful cleaning has pulled out a greater range of colours, which is particularly visible in the blues. You see this in the Virgin Mary\u2019s veil, which reveals five, perhaps six different tonalities of the same pigment. And also in the sky, which used to look greyish-green, and actually is blue, with a lovely little cloud in it.<\/p>\n

Modeling<\/strong>. The harsh cleaning methods, likely those used in the 18th<\/sup> century, removed a top layer of paint, taking away some details (such as in the shading of the foot at the bottom center of the composition) and some colour.<\/p>\n

\"Shadows.\"
Shadows.<\/figcaption><\/figure>\n

Shadows<\/strong>. Scholars always said this was a painting without shadows. Now if you look in the bottom left corner, you can clearly see the ground covered in pebbles, and those pebbles have shadows. Rapino explains:<\/p>\n

\u201cIt seemed like this scene was suspended in nothingness<\/strong>. Studies speak of a neutral background. But that\u2019s not at all true! There\u2019s a sky. There\u2019s earth. Contrary to what people thought, but it\u2019s not their fault: you couldn\u2019t see it.\u201d<\/p><\/blockquote>\n

\"The
The restorer at work<\/figcaption><\/figure>\n

In this conversation, restorer Daniele Rossi has taken to the background, as restorers are trained to do \u2013 they exalt the work of others, and seldom brag of their achievements, no matter how great. I asked him how he felt<\/strong>, laying hand and brush to Pontormo. \u201cWorking on masterpieces like this is always a discovery and an emotional process. There\u2019s a direct rapport between the work and its restorer. It takes time, silence, where one is alone in order to make important decisions.\u201d Rossi has restored other Pontormo\u2019s before, and continues: \u201cOver the years, one Pontormo after the other, it\u2019s always like taking up a conversation<\/strong> we\u2019ve left off.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"

When you need to restore a Pontormo, Simonetta Brandolini d’Adda, President of the not-for-profit Friends of Florence Foundation, is the […]<\/p>\n","protected":false},"author":3,"featured_media":13081,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[9],"tags":[111],"yoast_head":"\nThe restoration of Pontormo\u2019s Deposition - ArtTrav<\/title>\n<meta name=\"description\" content=\"I recently had the opportunity to visit Pontormo\u2019s Deposition in the restoration studio of Daniele Rossi and I found out that it's not "flat" after all.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.arttrav.com\/florence\/restoration-pontormo-deposition\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The restoration of Pontormo\u2019s Deposition - 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