A structural repair of Rubens's Het Steen | Behind the scenes in Conservation | National Gallery

[@frederiquehobson4221]

Dear Madam, You are an angel. Tears were not so far while I was listening to you. Thank you very much to you Madam and the N. G. For the videos. Younger, I certainly ask you to teach me your Art .☆☆☆

[@mariabaditoiu874]

After religiously watching Baumgartner Restoration's channel KZbin recommended this video. I am so glad you are doing these videos and I appreciate them greatly. I imagine you are all very busy folk so taking the time to film and explain can be hard. I'm sure we're all eager to see a follow up video on your decision for the support of the painting.

[@pistolannie6500]

Im a BIG fan of Julian's too!!

[@saint-miscreant]

loving this series! please keep the behind-the-scenes and conservation videos coming, it's so fascinating to get to hear about the 'guts' of a painting from such talented and knowledgeable folks :)

[@Johnmartin-vz7yc]

How fascinating and informative! Well described and entertaining as usual from the National Gallery !

[@williamgmoss]

Deeply reassuring to watch such professionalism at work

[@themarquis336]

What a magnificent painting. I tend to not enjoy landscapes very much, but this is just sublime. Thank you for taking such good care of it.

[@Calgary27]

Lovely!!

[@joycevisceglia6404]

So interesting and informative about how this important work is done. Kudos to all the restorers.

[@dazio7035]

How interesting and well presented. A fascinating look behind the scenes of the work that the gallery does. Excellent!!!!

[@stephenjohns6002]

A follow-up at a later date would be appreciated.

[@nationalgallery]

Hi Stephen, you can see what happened in the next steps of the restoration at the bottom of the webpage here: www.nationalgallery.org.uk/behind-the-scenes/structural-repair-rubens-het-steen

[@kalieris]

@@nationalgallery The precision of the restorative woodwork to account for all the minute stresses as well as the mechanics of restoration and future display are breathtaking.

[@carolabruzzo4935]

Fascinating. Please keep us updated!

[@andrewfrost8866]

Fascinating, interesting and informative. Thank you so much!

[@Divertedflight]

I find these things a great joy to watch. Painting is such a uncertain process for me that I believe I maybe interested in the technical nature of works of art in order to gain a sense of control in the process of creation. (illusionary as that belief might be.) Working so long on the panel back, I wonder if there are moments when one could momentarily forget there's a painting on the front?

[@Divertedflight]

I have an interest the care given to works as artifact. Naturally the painting on the front is of the highest importance, but also what degree of necessity is given to the history of the support.

[@krisschromatica3623]

I love this channel so much :p

[@Draginea]

Love the work you have done showing this oft overlooked part of art history! This might be a silly question, but has the use of a composite reinforcing backing been considered?

[@nationalgallery]

Hi there, we're so glad you enjoyed the film! Not a silly question at all. If by composite you mean using something like plywood, then yes, various different methods of reinforcing panel paintings have been used in the past, and this isn’t the only type of auxiliary reinforcement that we use - it’s considered on a case by case basis depending on the needs of the panel. We do favour approaches that will allow for flexibility with the ongoing wood movements, which often sheet reinforcements do not. In this case, we also needed to follow some quite complicated undulations in the profile of the panel relating to the separate deformations of the different boards making up this complicated construction, so we laminated battens to fit the profile of the panel and then used flexible attachments which would allow a certain amount of movement and shrinkage within the panel whilst still providing a good level of support. Thanks

[@atrament8839]

I really enjoy your videos!

[@DV-dt9sq]

Super!! ❤️

[@kalieris]

In the narration, it sounded as if the very thin slivers at the left and bottom were added much later. Do we believe they were still added by Reubens, or are the the work of someone else?

[@rodrod5000]

Interesting to see the end of the battens where the lamination is visible. Is the particular lamination a weight saving technique or are there other considerations?

[@sutapamazumdar1338]

I loved the music 🎶 track of this 📷 video as well. I couldn't find the info in the description.

[@nationalgallery]

Hi Sutapa, the song is 'A Young Man’s Proposition' by Francis Wells. Thanks

[@sutapamazumdar1338]

@@nationalgallery ❤️🙏

[@peteannells4218]

Thank you, absolutely fascinating. Were boards ever doweled together ? These boards seem too thin for that but might make more stable joins, and cause more problems when they fail. More interesting than the front side !

[@nationalgallery]

Hi Pete, we're so glad you enjoyed the film! The boards were never dowelled. We can tell that from the x-rays, and they are indeed very thin to accommodate any dowels, however, some of Rubens' other panels do have evidence of dowelled joints. The half-lap joints make the vertical joints quite stable, but the simple butt joins that run along the grain had failed in places, as you say, dowels would have made these joins more stable, and we do see them in other instances. Thanks

[@romulusbuta9318]

What does the Rubens's paint is made of ? Only pigmet + oil.....or it's something more ????

[@nicolajaner3808]

Do you think canvas or wood panel are best for large paintings? And what kind of glue do you use? Nice mask btw!

[@thilinakithalawa2402]

Can you do an intro to paint on wood

[@chriswoods2647]

How is the panel secured and the actual paint protected during this?

[@paddyskate]

Often it is faced with a removable type of paper or film. Check out baumgartner restoration on youtube for extensive looks at restoration

[@nationalgallery]

Hi Chris, the panel is supported upon shaped base that takes into account its undulations and the different board joins so it is safely held while we carry out the treatment. The supports are faced with a soft foam to protect the paint film itself. The paint film was also very carefully examined before the panel was placed face-down and regions that we thought might be vulnerable were consolidated first. We did not attach a tissue facing to the paint film because we needed to be able to have sight of the paint either side of the splits in order to re-join them correctly. The paint film is our priority though - in repairing the support, we are ensuring the longevity of the painted surface that Rubens created. Thanks

[@chriswoods2647]

@@nationalgallery Thank you for the reply. I really appreciate your presentations like this because I think the museum-behind-the-scenes is so interesting! There is so much going on at a museum to bring us what is in the galleries! Thank you!

[@CBTheMechanic]

Would be fun to see a Julian Baumgartner collab.

[@alyssarose4220]

Maybe when he takes the trip to check out the Belgium Linen factory, he can swing by the National Gallery. Oh boy, I'd love to see a travel-vlog of Julian being a nerd over conservation techniques in Europe.

[@Blech319]

Rubens', not Rubens's.

[@dianer.9461]

Wrong. The name Rubens is a singular noun that called for the apostrophe and s.

[@molybdomancer195]

@@dianer.9461 actually either could be chosen. It’s more a stylistic choice that a hard and fast rule.