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The Consequences of Overpainting in Icons and Works of Art
By Venizelos G. Gavrilakis | Senior Expert Artworks Conservator & Restorer
Overpainting or repainting, observed in historical painted artworks—particularly in portable icons and, less commonly, in panel paintings—represents arbitrary interventions undertaken solely for aesthetic purposes. Notably, icons, due to their prevalent use in religious contexts, are prone to various forms of deterioration and require upkeep to preserve their ceremonial significance.
Consequently, such interventions are often initiated to “beautify” these works, typically carried out by unskilled and unqualified individuals lacking professional expertise or credentials.
In their attempts to “cleanse” the works or icons—an arbitrary intervention often referred to as such by these individuals—amateurs frequently damage the original designs and colors of the artworks. To conceal these damages, they overlay whatever authentic elements remain with a new layer of paint, leaving behind their arbitrary and counterfeit imprint.
This practice distorts the artwork’s authenticity and historical integrity, including its composition, design, and colors. In earlier times, these interventions even involved repainting icons or artworks with entirely new subjects.
In more fortunate cases, the damage is minor, or overpainting is limited to the tarnished or “blackened” varnish layer without resorting to destructive “cleansing.” These “corrections,” as they are often described, involve partially or completely covering the artwork. In rarer instances—particularly in older practices—a new “gesso” layer was applied over the old icon, followed by a complete repainting from scratch.
More commonly, however, the new “retoucher” directly overlays the original image, intending to “correct” it. By arbitrarily covering the original designs and colors, they attempt to mimic the existing elements but fail to match the originals, ultimately violating and altering the artwork’s authenticity and historicity.
Types of Overpainting
Three primary cases of overpainting are identified:
Direct color additions: Applying new paint over the original artwork without any intermediate preparation.
Intervention with a gesso layer: Applying a preparatory layer before repainting.
Repainting directly onto the original surface: This method omits the use of a gesso layer.
Additionally, partial colorizations are frequently observed, where the original colors and designs are partially overlaid.
How Are Overpaintings Identified?
The detection of overpainting begins with visual observation and tactile examination of the artwork. Conservators look for irregularities in the painting surface, differences in texture, or signs of additional layers revealed through areas of loss. Observations are enhanced using raking light. Experienced senior conservators-restorers can often quickly identify the presence of overpainting based on their expertise.
More precise methods involve optical and radiographic techniques, which include:
Ultraviolet Photography: This technique highlights overpainting and surface colorations. Varnishes tend to fluoresce under UV light, while pure pigments do not. However, its effectiveness is limited when a thick varnish layer is present.
Infrared Photography: Infrared radiation penetrates pigments, providing information about underlying layers and revealing elements of overpainting in some cases.
X-ray Imaging: The most penetrating and effective method, X-rays reveal the artwork’s depth. High atomic-weight elements (e.g., metals) absorb X-rays significantly, appearing as white in the radiograph. By analyzing the grayscale image, conservators can distinguish between original artwork and areas of overpainting. Accurate interpretation of X-rays requires the expertise of a senior conservator-restorer.
Addressing Fully or Partially Overpainted Artworks
When an artwork or icon is entirely overpainted, the decision to remove and reveal the original requires careful consideration. The responsibility for this complex and delicate process lies solely with an experienced senior conservator-restorer. From the cleaning process to the final outcome, every step must be handled with precision and expertise to ensure the preservation of the artwork for future generations.
The process is not about achieving a final aesthetic presentation but minimizing damage caused by carelessness, neglect, or lack of experience. Such damage can permanently alter the artwork and may cause future deterioration that cannot be remedied.
The removal of overpainting should only be performed by highly experienced professionals. Even among conservators-restorers, not all possess the necessary expertise to handle such cases. Scientific study is a prerequisite for any intervention.
This includes analyzing colors for sensitivity, conducting radiographic examinations, and employing other visual methods to determine the extent of overpainting and assess what can be salvaged from the original artwork.
Approaching Artwork Conservation with Reverence and Responsibility
Conservation and restoration of artworks must be approached with utmost respect and complete awareness. When entrusting these masterpieces to professionals, the critical factors are the reverence for their historic significance and the expertise of the conservators. Avoiding tragic, irreversible errors is paramount in preserving our cultural heritage.
These invaluable treasures have survived wars, natural disasters, and human negligence, reaching us in their current condition. If we cannot responsibly address their needs, it is better to place them in a safe environment, following recommendations from specialized art conservators, until the proper time and professionals are available to ensure their preservation. Through correct and conscientious conservation and restoration, we can safeguard these ancestral treasures for future generations, ensuring their enduring legacy.
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