New-York tribune., 1922-03-19
Quaint Old Song
Free Press Abusers
TO the Editor Of The Trihnnn

could have the opinion of certain artists
about the much talked Of "Blne Boy"
deem it still a question whether tho
cleaning which it was subjected 10 has
been an unqualified success. That it
las made il more brilliant there is no
question. What Is of Importance, how
ever. is the problem whether the re-
suit IS the "Blue Boy" that was given
20 TIRE world by Cainshorough or
whether In the process of restoration
the portrait has suffered at the hands
of the cleaner.
For this reason It would be inter
esting to have the opinion Of such
artists as can recall it in its previous
state and of those whose studies of
the art OF the past have made them
familiar with the methods which pre-
vailed in the production of the work
OF the great masters Of color.
Having seen the Blue Bow" but once
st some loan collection in London, my
recollection !. necessarily somewhat
distant. / have a distinct impression
that the picture WAS covered by a veil
Of somewhat sulphurous yellow, which
gave the original blue greenish cast
It is more than likely that the blum
1nous atmosphere OF the great city on
the Thames may havo been the cause
Of this through chemical action on the
preserving varnish or through the de-
post Of dust, or, sgain, through the
use Of poor varnish.
The public st large seems to have
but vague idea of the damage which
overcleaning can do TO the works OF
the painters Of the great schools OF the
past. When we recalled the fact that
their work cannot be replaced we feel
that great responsibility rests on the
shoulders OF those who advocate and
permit any restorations about which
there is any doubt.
Good reasons for this doubt exist, for
more than one of the treasures in our
museums and in the galleries Of our
rich collectors have been very seriously
damaged by experts" trying to restore
paintings to brilliancy which the au-
thor never intended that they should
possess. / have in mind one such.
think it was q river scene by "old
Chrome" in which a basket or some
such object which was floating by in
The foreground had completely dis
appeared after The picture had been
swell" cleaned. There ie also ira
dition OF highly trained authority
on art, who was imported from Eng
land at great expense, who refreshed
"a Runeus go that it no longer had any
transparent colors left in II, but ap-
pcsred in the pristine opaque coloring
of its first painting.
Many OF tho great painters, among
which we may count Gainsborough,
used methods OF painting which are
so different from the prevailing tech
nique Of to-day that the danger their
pictures run from cleaning will be bet
ter understood by g word or two of ex-
planation.
Much Of the charm Of the old mas
ters comes from their supreme tech
MICA, knowledee; aud close eXamina~
Ison Of their works reveals facts which
-re Of to-day arc certain Of, though
we fail to initiate them in our art
Among other things they attained g
wonderful richneas Of color and &
treatment of light and shade, co deli
cato and true, as TO rival the atm os~
phere itgef.
Such effects were obtained through
the ure Of vehicles for their colors
which permitted the painter the utmost
latitude. He could uss his colors in
bulk phers he chose, or he could sub
divide them until they were 80 ten
uously transparent as gossarner. The
practice in those days eeems 70 have
been 10 build UP the painting first,
With solid pigments ard then 80 flood
the canvas with those wonderful films
OF transparent color which not only
enriched the first painting but which
seemed 10 give them also an atn1os-
pheric reality which has been the de-
spair OF the painters OF our genera
ton.
All wc know is that they did ell this
by the use of mediums" the actual
composition of which Is unknown TO us
to-day. We know only that oils and
resins were employed, diluted with spir-
It's of turpentine or possibly other col
vents. The later or finishing coats Of
color would seem to have been mixed
with go much Of the vehicle that the
color itself can be barely distinguished,
except By prectced eye. In these
later coatings the crudities Of the first
painting could be softened. the depth
Of shadows made more deep, the glare
of misplaced lights subdued or deli
cate veil thrown over the whole paint
ing to accentuate one part of it or to
unite the various parts into the com
pleted whole.
Bearing in mind that these finish
ing touches are chiefly composed Of
varnish and oil, with often the faint
est suggestion of color added, and that
when the painting is dry there follows
a general covering of varnish for
its better preservation, it is not hard
TO see that In efforts to remove this
preserving coating the final glazings