How is it possible that centuries-old paintings by Rembrandt, Vermeer and Rubens still look so good today? This is partly thanks to conservators, who ensure that paintings are preserved in the best possible way.
The exhibition Facelifts & Make-overs shines a light on what usually remains out of sight, namely the conservation of paintings. What is conservation? Why is it necessary? And what secrets do conservators uncover above and below the layers of paint? Welcome to the hidden world of conservation!
Our conservators
The Mauritshuis’ conservation studio is located in the attic. This is the domain of our conservators Carol, Sabrina and Abbie. Together with interns and external specialists, they see to it that our paintings remain in good condition. They repair any damage, carry out scientific research into the materials and techniques the painters used, and ensure that you will be able to continue enjoying the paintings in the future. Unfortunately the conservation studio is inaccesible to the public but we are giving you a glimpse during our current exhibiton.
In search of secrets
A painting is more than just paint on a surface. It is built up of various layers of material. The base - the ‘support’ - of most 17th-century paintings is a wooden panel or stretched canvas. This is covered with a ‘primer’ which the artist uses to even out the surface of the support. The underdrawing or underpainting, the sketch for the final composition, is applied on the ground. The next layer is the representation itself, which is followed by a final layer of varnish.
Just as archaeologists uncover information about the history of the world in the various strata of the earth, the layers of a painting provide information about the history of the art of painting. Armed with cotton buds, brushes and the latest technology, conservators go in search of the secrets that lie hidden therein.
The mystery of the lost soldier
We are currently restoring A Man Smoking and a Woman Drinking in a Courtyard by Pieter de Hooch (1658-60). This seemed to be a painting of a family group, until a soldier suddenly reappeared from under an overpainting. He was originally seated between the man and the woman at the table and for unknown reasons became redundant in the course of the centuries and was eliminated. What remains of this figure are a bit of his thumb on the beer mug, his coat - which still hangs over the fence - and his pipe. This raises the question of what to do with the soldier? Make him disappear again or place him back at the table?
