Restoring Rubens: A Titanic Task

restoring Rubens: A Masterpiece Unveiled

The restoration of a masterpiece is usually a quiet affair, confined to the hushed atmosphere of a studio. but when it comes to a monumental Peter Paul Rubens painting in his hometown of Antwerp, the studio had to come to the painting.

The “Enthroned Madonna Adored by Saints,” a breathtaking tapestry of flesh, fabric, and drapes, towers at a staggering 6 meters tall—taller than an adult giraffe. Six skilled restorers are meticulously working on this Baroque masterpiece for two years, their every move observed by a constant stream of visitors. Rubens,frequently hailed as Antwerp’s most famous son,completed this very work in just a few weeks back in 1628.His signature “panache”—that grand gesture captured in a simple brushstroke—continues to leave audiences awestruck centuries later. It’s a testament to his genius that such a large-scale work was executed with such speed and flair.

“It’s such a flamboyant painter that, yeah, we love it,” said Ellen Keppens, one half of a twin sister duo leading the international team of restorers. Their days are a symphony of meticulous detail.Sometimes, they crawl along the wood-paneled floor, applying delicate touches of undertones.Other times,they crouch beneath a metal staircase,reaching for those hard-to-access corners. Restoring art, Ellen explains, requires more than just artistic skill; it demands incredible versatility.

“Like our colleague says, she’s become really good at yoga,” Ellen laughs. “You notice that you can bend in all kinds of angles in front of a painting.” When her neck starts to ache, a nearby desk becomes her temporary haven, offering a respite from the physically demanding tasks.

Their workspace,the Rubens gallery,houses another iconic Rubens,”The Adoration of the Magi,” looming equally imposingly. This, too, awaits restoration, adding to the magnitude of the undertaking. Koen Bulckens,curator of the Baroque section,understands the magnitude of the challenge. “We will use this studio now for the treatment of this work,” he states, gesturing towards the Madonna. “Then comes another work, which is the ‘Adoration of the Magi.'”

The clock is ticking. The project’s completion in 2027 coincides with the 450th anniversary of rubens’ birth, a fitting jubilee year for this monumental restoration effort. Bulckens emphasizes the importance of the task, explaining, “This work was covered by a very exceptionally, I must say, thick and yellow varnish which distorted on the one hand the colors, but conversely also the brushwork, which had become unfeasible to see.”

Adding to the complexity, the Madonna’s flanking paintings were cleaned 35 years ago, leaving Rubens’ masterpiece looking distinctly jaundiced. “It was obvious how yellow it looked. You can play with the museum light to make it a bit bluer,but that was really not a definitive solution,” Bulckens admits.

Removing the varnish, although initially revealing a dull complexion, is a crucial step. Restorers know it’s a temporary phase, and the final result will be a breathtaking revelation. Still, visitors, despite the “do not disturb” signs, voiced concerns, convinced the beloved painting was being ruined.

“Some absolutely don’t realize it.And then they think, like…

Restoring Rubens: A Look Behind the Velvet Rope

imagine a canvas so grand, it towers over an adult giraffe. That’s the “Enthroned Madonna Adored by Saints,” a monumental masterpiece by Peter Paul Rubens, currently undergoing a two-year restoration in his hometown of Antwerp. six skilled artisans are painstakingly bringing this Baroque wonder back to life, but unlike a typical restoration project, their work is under constant public view. This rare glimpse into the meticulous process reveals both the artistry of Rubens and the dedication of the restoration team.

Ellen Keppens, one half of a twin sister duo leading the international team, recently spoke with Archyde about the challenges and triumphs of revitalizing this iconic artwork.

“It’s such a flamboyant painter that,yeah,we love it,” Ellen enthuses. “You have to acknowledge the scale of it.There’s so much detail, and the way he uses color, it’s just breathtaking.”

Ellen’s days are a ballet of precision, a symphony of detail. She crawls along the wood-paneled floor, applying delicate touches of undertone.Sometimes, she’ll be found crouched beneath a metal staircase, meticulously reaching for those hard-to-access areas.

This unprecedented restoration clarity offers visitors a unique opportunity to witness the magic of art conservation firsthand. “We know what’s going to happen next, once new varnish and touches are applied,” Ellen assures. Weeks spent under the watchful eyes of curious onlookers only deepen their connection to Rubens’ work.

A Masterpiece Reborn: restoring rubens’ Madonna

The restoration of Peter Paul Rubens’ iconic “The madonna with the Long Neck” is a monumental undertaking, a delicate dance between preserving history and revealing the artist’s brilliance. Ellen, a skilled restorer, describes the process with a mix of passion and humor, “Restoring art requires more than just artistic skill; it demands incredible versatility,” she laughs. “Like our colleague says,she’s become really good at yoga.You notice that you can bend in all kinds of angles in front of a painting.”

The Rubens gallery, where the restoration takes place, is a testament to the artist’s enduring legacy.Another Rubens masterpiece, “The Adoration of the Magi,” looms nearby, awaiting its own restoration. Koen Bulckens, curator of the baroque section, understands the immense responsibility of this project. “We will use this studio now for the treatment of this work,” he states, gesturing towards the Madonna. “Then comes another work, which is the ‘Adoration of the Magi.’ ”

The clock is ticking.The project’s completion in 2027 coincides with the 450th anniversary of Rubens’ birth, a fitting jubilee year for this monumental restoration effort. Bulckens emphasizes the importance of the task, explaining, “This work was covered by a very exceptionally, I must say, thick and yellow varnish which distorted on the one hand the colors, but conversely also the brushwork, which had become impossible to see.”

Adding to the complexity, the Madonna’s flanking paintings were cleaned 35 years ago, leaving Rubens’ masterpiece looking distinctly jaundiced. “It was obvious how yellow it looked,” Bulckens admits. “You can play with the museum light to make it a bit bluer,but that was really not a definitive solution.”

Removing the varnish, although initially revealing a dull complexion, is a crucial step. Restorers know it’s a temporary phase, and the final result will be a breathtaking revelation. Visitors,despite the “do not disturb” signs,voiced concerns,convinced the beloved painting was being ruined. “Some absolutely don’t realize it. And then they think, like, was it a good idea? Yes, of course it was a good idea,” Ellen assures.“We certainly know what’s going to happen next, once new varnish and touches are applied.Everyone will be amazed.”

While sometimes Ellen gets the chance to explain the process,often,they’re simply surrounded by the murmurs of curious onlookers. standing up for Rubens, and their own meticulous work, comes naturally after months spent immersed in his legacy. “After dealing with Rubens, month in and month out, he is a very large part of our lives,” Ellen concludes. “Seeing thes colors come alive again, it’s just incredible.”

The restoration of Rubens’ Madonna promises to be a transformative experience for visitors. Imagine stepping into the gallery,witnessing firsthand the unveiling of vibrant colors and intricate brushstrokes,rediscovering the brilliance of a masterpiece obscured by time. It’s a testament to the enduring power of art, and the dedication of those who strive to preserve its legacy for generations to come.

What impact do you think restoring this artwork will have on visitors’ experiences?