Museo de Bellas Artes de Granada. printer version

collections: restoration and conservation

2003 | 2002
subsección intervention in the exhibits
Christ tied to the pillar with St. Peter repenting.
Christ tied to the pillar with St. Peter repenting.

Juan de Aragón

Cristo atado a la Columna con San Pedro arrepentido.
(Christ tied to the pillar with St. Peter repenting). Oil painting on board
230 x 175 cm

The decision to intervene in this work, was more so for aesthetic reasons than for preservation, given that the most significant damage was treated in the 1994 intervention. Halfway through the restoration process, meticulous cleaning of the pictorial layer was carried out, balancing out this layer with the indicators from the previous cleaning process, and the chromatic unity was returned to the work.

Christ on the cross
Christ on the cross

Fray Juan Sánchez Cotán

Cristo en la Cruz.
(Christ on the cross). Oil painting on canvas.
251.5 x 151 cm.

The defects, due to the poor adherence of the relining were eliminated and the stitching was concealed. Suture threads were applied to a hole in the canvas. Having analysed the strata of the polychrome, cleaning was carried out, enabling recovery of the original tones of the work and of some areas hidden by stucco.

Our Lady of Sorrows
Our Lady of Sorrows

José de Mora

Dolorosa .
(Our Lady of Sorrows). Sculpture in polychrome wood.
Height, 56 x 48''5 x 25''5 cm

The polychrome over paint on the chest area was eliminated from this life size bust, which enabled the recovery of the two edges of the lace collar. Prior to this, samples were taken in order to be analysed, and it was verified that it was not the original polychrome. In addition, an X-ray was taken to view the inside of the work and observe technical details regarding its construction.

Saint Pantaleon
Saint Pantaleon

Juan de Sevilla

San Pantaleón.
(Saint Pantaleon). Oil painting on canvas.
200 x 160 cm.

The defects in the relining from the seventies were eliminated and the stitching was concealed. The oxidised uneven varnish was removed, as were a large number of retouches concealing the original polychrome, which was carried out during a careless previous intervention.

Head Sculpture of St. John of God
Head Sculpture of St. John of God

Alonso Cano

Cabeza de San Juan de Dios.
(Head sculpture of St. John of God). Sculpture in polychrome wood.
30 x 19 x 22 cm.

Having analysed the strata of the polychrome samples, retouches were removed using a scalpel and with extreme care, in particular, around the beard, where the extent of the recovery of the original polychrome was surprising. Stucco was applied to the missing pieces and chromatic reintegration was carried out.

The base was replaced, recovering over a centimetre of the neck structure which had sunk into the previous base, which had caused numerous scratches to the area.

Juan De Sevilla

San Francisco recibiendo la Regla.
(St. Francis receiving the Rule). Oil painting on canvas.
257 x 198 cm.

The deformations in the relining were eliminated, suture threads were positioned in holes in the seams and these were concealed. Having analysed the strata of the polychrome, the retouches were removed, stucco was applied to missing pieces and \ ; chromatic reintegration was carried out.

Virgin with child
Virgin with child

José Risueño

Virgen con el Niño.
(Virgin with Child). Polychrome terracota sculpture.
51.4 x 45.8 x 10.4 cm.

There was volumetric loss to the back of the sculpture, and fragments had been glued on with plaster and organic adhesive. Having analysed the strata of the original polychrome samples, the layer polychrome, which had been incorrectly applied probably at the beginning of the century, was removed. The original polychrome was restored, as was the volumetric unity of the painting. In addition, a 1 cm thick polyester resin base was made, by means of casting, to protect the edges from being scratched during the process.


José de Mora

Sculpture in\ ;polychrome wood
58''5 x 48''5 x 25''5 cm

Bust in polychrome wood. Some retouches on specific areas, located in particular on the robe, were removed, the polychrome was fixed and a meticulous, exhaustive cleaning was carried out, returning the chromatic unity to the painting. Prior to this, samples of polychrome were taken to carry out a stratigraphic study.