Staring at an 18th century priceless artwork, Sophie Reddington smiled. She had been asked to restore the painting from Petworth House’s world-class collection by the pioneering artist Angelica Kauffman.
Over the centuries since Angelica, who was a favourite of the English artworld, had finished the 1788 work Diomed and Cressida – commissioned originally for the Shakespeare Gallery in London – it had become ‘muddy’ with layers of discoloured varnish and cracked paint.
Independent paintings conservator Sophie had been tasked with bringing the celebrated artwork, depicting a scene from William Shakespeare’s Troilus and Cressida, back to life.
Now, using the latest conservation techniques and state-of-the-art technology back at her studio, Sophie was able to examine the painting closely and begin the painstaking restoration.
And after carefully removing layers of old varnish and employing infrared reflectography – a non-destructive imaging technique where infrared light is directed at a painting to discover what lies beneath the surface – she was thrilled to discover the neoclassical artist’s secret: an underdrawing and even a grid hidden below the paint.
‘The discovery of the underdrawing was such an exciting moment,’ Sophie says.’ It allows us to observe the artist’s working method, and it’s so beautiful and dramatic, with wonderful energy.’
It was the first time the detailed drawing, most probably done in charcoal, had ever been seen. The grid suggested that Angelica was scaling up a smaller preparatory sketch.
The restored artwork is now back at the National Trust house, where JMW Turner used to paint, and is part of the Conserving Kauffman exhibition shining a spotlight on the revered and important artist through the restored masterpiece.
Born in Switzerland in 1741 and with an early career in Italy, Angelica moved to London in 1766 where her work attracted the patronage of royalty and aristocracy across Europe. She became known for her celebrity portraits and history paintings, pioneering a new approach to this genre by placing the female protagonist at the heart of the composition.
Such was her influence by the late 18th century that the Danish Ambassador declared: ‘the whole world was Angelica mad.’ She also became one of only two female founder members of the Royal Academy, breaking the mould of her profession.
Dr Emily Knight, Property Curator at Petworth says: ‘Kauffman’s impact was quite remarkable when you consider the obstacles for women becoming artists: beyond facing prejudice and criticism they were barred from formal training, excluded from life drawing classes. Very few were deemed talented enough to enter the collections of great patrons or institutions.
‘Before conservation, the painting was very hard to study due to layers of discoloured varnish and cracked paint. The transformation eight months later is extraordinary.’
Visitors will be able to explore this fascinating world of art conservation for themselves. Alongside the displayed painting are cases of tools and materials, together with a new film which discloses the painstaking assessment, research and treatment undertaken during the painting’s conservation process. The display is accompanied by historical detail about Angelica and the Shakespeare Gallery where it was originally shown.
It was commissioned by the publisher John Boydell for exhibition in the newly opened gallery in London, a project he initiated to improve the reputation of British history painting and to capitalise on the swell of interest in Shakespeare at this time.
The painting captures the moment when the Trojan prince, Troilus, is standing in the shadows overhearing his lover, Cressida, promise herself to his enemy the Greek warrior Diomedes. You can see Troilus’s pained and shocked expression, as he’s held back by his companion. In contrast, Cressida takes centre stage in her diaphanous white gown, gently holding Diomedes’s hand and gesturing up to him alluringly. The scene is filled with tension as we see this love triangle played out between three key characters in the play.
Sophie initially assessed the painting while it was hanging at Petworth House: ‘Having to make the initial appraisal of the painting’s condition while it was in-situ in the mansion was a classic country house challenge,’ she says,‘but once it was in my studio and out of its frame I was able to examine it properly.
‘The old varnish was very thick and ‘muddy’ even in UV light, but I discovered that the painting was unlined, which is a rare thing and a real thrill. In the past, many paintings of this size were lined with wax resin or glue paste onto a second fabric support during restoration treatment. This adhesive would penetrate through the layers and often alter the entire appearance of a painting, making the colours darker and the painting itself very stiff.
‘Treatment was a big challenge. I removed the varnish layers slowly in stages, unsure if this or a full clean would be the best option for such a big and complex painting. The original paint layers turned out to be heavily overpainted and I uncovered a peculiar shrinkage pattern, possibly the result of early cleaning damage. This became one of my biggest obstacles - I needed to reduce its impact but without resorting to overpainting - just minimal retouching, so that the viewer would once again see the painting as the artist intended.’
Another important job Sophie had to tackle was the surface. She started the painstaking process of building up layers of spray varnish over 14 weeks. This created the best possible surface to blend in the retouching work.
‘This must be one of the most rewarding projects I’ve worked on,’ she admits. ‘It was wonderful to gradually uncover little brushstrokes that have been hidden for decades, along with so many other ‘lost’ details - the jug, the shield, the helmet. The process has restored the vibrancy of the original paint colours and I really felt I was bringing the painting back to life; that I was awakening an old master.’
The painting’s original neoclassical livery frame also underwent conservation treatment. Conservator Jonida Mecani, formerly from the National Trust’s Royal Oak Foundation Conservation Studio at Knole in Kent reinstated missing decoration, and re-gilded the frame.
Emily Knight says: ‘Kauffman is this groundbreaking artist who built an incredible career at a time when it was hard for women to become professional artists. It’s wonderful to have this painting back at Petworth for our visitors to enjoy, and where we can champion the incredible work of our conservators.’
Conserving Kauffman is at the National Trust’s Petworth House and Park until 24 November, normal house admission charge only.
