Readers might remember that the famous Ghent Altarpiece by Hubert and Jan van Eyck was recently in the news. It last hit the headlines in April because of the ongoing puzzle over the whereabouts of the Just Judges panel, which was nicked from St. Bavo’s in Ghent in 1934 and has threatened to show up a several times in recent years; to no avail, unfortunately. You can read about all of that, plus a bit about the altarpiece’s tumultuous history more generally, on my previous post here.
For now at least, the Just Judges puzzle remains still a puzzle, and the altarpiece’s most recent foray into the public eye is in fact nothing to do with the Judges saga. The altarpiece is instead in the news this time for much more positive, if not exciting, reasons.
Since 2012, the Ghent Altarpiece has been in restoration. The work is being done at the Museum voor Schone Kunsten in Ghent, where visitors can apparently watch conservators at work on panels from the altarpiece through a glazed wall looking into a specially designed room where the restorers are at work (or so Christina Currie told me recently, who is from from the Royal Institute for Cultural Heritage at Brussels (KIK-IRPA), the organisation responsible for overseeing the treatment). The total restoration of the polyptych has been split into 3 phases:
- Phase 1, underway now and due for completion this October, focuses on the outside shutters
- Phase 2, due to start on completion of phase 1, deals with the upper interior panels (the row commencing with Adam and finishing with Eve)
- Phase 3, scheduled to start in April 2016 and complete the following October, deals with the bottom interior panels, so the Mystic Lamb, the Knights, Hermits and Pilgrims (and presumably they WON’T be doing anything with the Just Judges, which is a replica painted by Jef Van der Veken in 1945 to fill the gap left by the theft of the original)
The cost of all this is pretty eye-watering: €1,260,433.20 (I wonder what the .20 is for?). So what do you get for that sort of money? Well, they’re examining and repairing the panels themselves, to allow for unconstrained contraction and expansion of the wood, thus preventing further cracking (i.e. panels have presumably been cradled at some point, which has lessened the “give” of the wood and caused fractures). They’re also removing those familiar yellowed and cracked varnish layers, which should make the whole thing look just that bit more brilliant. And finally, since they’re removing the varnishes anyway, they’re also examining the paint layers themselves, to establish if there are overpaints and restorations that ought to be removed, and whether any new restorations are required to damaged parts. All the while, the observations the restorers make will doubtless enrich our understanding of the van Eycks’ methods, and most probably shed light on the whole “what’s by Hubert and what’s by Jan?” problem.
And things are already getting very interesting indeed. During Phase 1, conservators have realised that much of the outside shutters actually feature extensive overpaints. And following 3D Hirox microscope and MA-XRF analyses (whatever they are), it was realised that the paint layers beneath the overpaints are, surprisingly, in good condition (I say surprisingly because overpaints usually hide nasty stuff). Consequently the decision was made to REMOVE pretty much an entire layer of paint from the surface of the outside shutters in a bid to reveal the van Eycks’ original paintwork. A CODART release (CODART is an international network for curators of Netherlandish art) tells us that this work is ongoing, and that centimeter by centimeter a steady hand(!!), wielding a scalpel (agh! – rather you than me), is removing the overpaint that obscures the van Eycks’ superior work.
And the results are impressive. The 2 images below from the Joos Vijd panel show sections where the overpaints have been removed, thus revealing the subtler, more nuanced brushwork that has hitherto been obscured:
Other discoveries include a cobweb in the corner of the panel showing Elisabeth Borluut, the wife of Vijd, the altarpiece’s patron; a finding of demonstrable iconographic significance, says the CODART release.
This is all pretty exciting stuff.
But the findings also also beg an obvious question: why were the overpaints done in the first place, if the paint beneath is in such good nick? Who in their right mind would paint over the van Eycks’ brushwork if there was no real cause to do so? From what I gather—and I am by no means especially knowledgable about this—the overpaints are OLD; they certainly have, or had, craqueleur consistent with 15th- or 16th-century paint, and they had, after all, gone undetected by the great connoisseurs of the 20th century (Panofsky, Friedländer and so on never, as far as I know, doubted very much that what they were looking at was the original paintwork–there is a great irony here that much of the scholarship on the altarpiece has been obsessed with discerning Jan’s hand from Hubert’s, whereas it seems, on the outside shutters at least, that up to now we’ve been looking at neither!). When I first heard about the overpaint (again, via Christina Currie), I’d presumed they had been done to conceal fire damage, inflicted on the work in the 16th century–a plausible story, I’d thought. But that can’t be the case, since the paint underneath is superior to the overpaints and well preserved. So it’s all a bit strange. I daresay answers will be forthcoming when the restorations are complete in 2017 and the panels are reunited—less the Just Judges, unless by some miracle it turns up just in time—inside St. Bavo’s, doubtless to great fanfare and accompanied by myriad publications! Watch this space…