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Daily Log
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Introduction
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Both David and Joan begin to remove the upper layers of fill material and overpaint applied during earlier restoration. Without the degraded, oxidized, amber colored varnish, the bright, rich Baroque era colors become visible.
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This section of the painting sustained a variety of mechanical damage, including tears, scrapes, scratches, and creases. The areas of white on the surface of the painting are broadly applied fill material, used to mask losses in the paint/ground layer. Beneath the white fills are several layers of overpaint and additional fill material, applied one on top of the other. In removing these layers of restoration, considerable original paint is revealed.
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Halo
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This detail illustrates the numerous layers of of fill and overpaint applied over damaged areas of the painting. The topmost white fill has been partially removed, as seen in the 'halo' around the darker overpaint. A minimum of three layers of additional restoration will be revealed when this overpaint is removed.
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David Marquis removes the last remnants of the thick, discolored varnish from the upper arm of the shepherd.
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The heads of the shepherd's sons were nearly obscured by discolored varnish and many layers of broadly applied overpaint. Significant area of original paint have been revealed with cleaning.
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