18th century paintings restored to original quality скачать в хорошем качестве

18th century paintings restored to original quality

(2 Jul 2012) US ART SOURCE: AP TELEVISION RESTRICTIONS: HORIZONS CLIENTS ONLY LENGTH: 4:36 Washington, DC - June 18, 2012 1. Zoom in from four portraits by Gilbert Stuart in the conservation lab at the National Gallery of Art to Stuart's "Vaughan-Sinclair" portrait of George Washington 2. Close-up of Stuart's portrait of second President of the United States, John Adams 3. Close-up of Stuart's portrait of Abigail Adams, wife of John Adams 4. SOUNDBITE: (English) Joanna Dunn, Conservator, National Gallery of Art: "All old master paintings were varnished by the artist, usually, or his dealer, and the reason for the varnish was to saturate the colours and also to protect the paint. With time, the varnish turns yellow, just as varnish on your floor would turn yellow. When that happens, it changes all the colours in the painting, so it no longer looks the way it did when the artist painted it. Our goal is to bring the painting back to how it looked when the artist finished it and how the artist wanted it to be seen." 5. Wide of inside conservation lab 6. Mid of Stuart portraits of John and Abigail Adams 7. Wide of four Stuart portraits 8. SOUNDBITE: (English) Joanna Dunn, Conservator, National Gallery of Art: "This is a portrait of Luke White by Gilbert Stuart. It has a very yellow varnish on the surface." 9. Close-up on portrait of Luke White, revealing sections which have been partially stripped of varnish 10. SOUNDBITE: (English) Joanna Dunn, Conservator, National Gallery of Art: "I've removed the varnish from this square here and this square here. And you can see that the cravat was a much brighter white and his coat was actually blue, not this greyish green we see here."" ++SOUNDBITE PARTIALLY OVERLAID WITH SHOTS OF PORTRAIT++ 11. Mid of Dunn using swab to remove varnish from portrait of Luke White 12. Close-up of portrait with swab 13. SOUNDBITE: (English) Joanna Dunn, Conservator, National Gallery of Art: "I think if you look closely right here you can see this thick brush stroke right here. And you have similar brush strokes over here but we can't see it because the varnish is obscuring it." ++SOUNDBITE PARTIALLY OVERLAID WITH SHOTS OF PORTRAIT++ 14. STILL of Stuart's "Vaughan-Sinclair" portrait of George Washington before cleaning 15. STILL of Stuart's "Vaughan-Sinclair" portrait after cleaning 16. SOUNDBITE: (English) Nancy Anderson, Curator, British and American Paintings, National Gallery of Art: "What's emerged now that time's varnish is gone is everything we knew to be true and more. You get to see the virtuoso technique 'cause nothing's obscuring it anymore. And, you can see here, just on Washington, how many painters can do five-o'clock shadow that looks like that? And still not have it be obtrusive." 17. Close tilt up of "Vaughan-Sinclair" portrait 18. SOUNDBITE: (English) Nancy Anderson, Curator, British and American Paintings, National Gallery of Art: "What we know is that Washington was somewhat impatient during the sittings. He did not particularly enjoy sitting for perhaps, any artist, Stuart. He had other things to do. So, there's a kind of impatience I think in some of the images. This one, I think he seems to be fully engaged with the artist, especially after the cleaning, you can see the eyes much better than we, than we could before." 19. Various of Joanna Dunn working on restoring portrait 21. Close-up of paint palette 23. Close-up of brush working on canvas tear 24. Pan left from Dunn working to portraits 25. Wide exterior of National Gallery of Art LEADIN STORYLINE: ==== Clients are reminded: Find out more about AP Archive: http://www.aparchive.com/HowWeWork Twitter:   / ap_archive   Facebook:   / aparchives   ​​ Instagram:   / apnews   You can license this story through AP Archive: http://www.aparchive.com/metadata/you...