Dossier del National Museum di Oslo
“The surface is cracked with cupshaped deformations now enclosed in the rigid waxdoubling Also other damages where the paintlayer is out of plane with the original surface now appear as deformations on the surface. The large bulging kittens (kittinger) which stands out from the rest of the surface, do not make the impression any better. There are remains of an older dark coloured varnish in the structure of the canvas, probably older varnish which was not cleaned during the treatment in 1955. The paint layer is generally very worn, most visible in the dark areas of the shadows. The mouth of the young woman is worn and was refreshed with a thin overpaint. There are large areas of rough, discoulored and dull retouches, which are partly over paintings. Some retouches cover previous over paintings.
The surface was cleaned with aromatic white spirit. On drying, the surface showed tendencies of blanching. This was wetted out using a putty varnish. It was varnished using a putty varnish with added diacetonal alcohol, and somewhat matted by ironing (until it was) dry.
When the varnish was completely dry, it turned out that the blanching of the surface came back. It appears that there are remnants of the duplicate wax or an old surface cover, that rose from the substrate by applying white spirit, and air is formed between the surface of the painting and this layer. Thus, isopropanol was applied on the painting which regenerated the surface treatment. Clear spray dam varnish was then used”.
In this report, the black and white picture of the painting photographed by Væring in 1955 is also shown, including the short description from the restoration at the time.
“The work was retoiled on a new canvas with wax. (60% bleached beeswax and 40% rubber eremi.) Old varnish and overpaintings were cleaned by solvent I. The photo taken after cleaning show the peeled parts that are puttyed. The three red arrows show fields where the old varnish and overpaintings have not been removed. Mastix paints have been used for the retouching, and in the end, the painting is varnished using mastix” (translation by Nina Gram).
L’autore Gianni Papi ringrazia Thierry Ford del National Museum di Oslo per aver fornito queste informazioni riguardo alle passate analisi tecniche sul dipinto.