Self-Portrait at the Age of Fifty-Seven

The restoration of Francesco Hayez’s Self-Portrait (1848, Inv. 6333, Fig. 1) began in January 2018, concluding in April of the same year.

The work was considered by the painter to be among his best: selected with six others in 1855 to represent his work at the Universal Exhibition in Paris, it remained in the master’s studio until his death in 1882, and then was donated to the Pinacoteca by his adopted daughter Angiolina.

The painting is signed in italics in brush: Fran. Hayez / Italian of the city of Venice / painted 1848.

The restoration, carried out within the Transparent Restoration Laboratory in Room XVIII (fig. 2), was necessary because the painting appeared weighed down by oxidation of the surface varnish, which was dulled and yellowed. In addition, some small lifts in the color that had formed in contact with the frame had to be fixed along the perimeter.

Before restoration, the painting was subjected to a thorough photographic and diagnostic campaign (figs. 3, 4), including diffuse and grazing light shots, macrophotographs and microscope photographs, infrared reflectography (IRR), infrared false color (IRFC), ultraviolet fluorescence (UVF), and reflectance spectrometry (Vis-RS). The results and direct observations of the work provided a deeper understanding of the artist’s technique, allowing each phase of the restoration work to be set up.

Painting technique

The linen canvas measures 126x95x2.5 cm, and is mounted on a wooden frame provided with a horizontal crossbeam (fig. 5).
The surface was initially prepared with a homogeneous pinkish layer, over which are spread the pictorial layers obtained with fluid oil backgrounds, more full-bodied at the highlights and the black robe (fig. 6).

Previous restoration and state of painting conservation

The painting underwent previous restoration at an undocumented date; in fact, some punctual retouching is visible, and a non-original natural resin-based varnish (dammar or mastic) was applied to the surface of the work already mounted in the frame, saving an inch along the perimeter (fig. 7). Fortunately, the previous restoration did not weaken the painterly layers, which are rich in transparent glazing in the complexion and red drapery. Some small color falls and minimal abrasions are visible, especially along the edges.

Restoration work

Restoration began with fixing the minimal color lifts, along the lower and right margins. After removing the incoherent particulate with brushes and low-intensity vacuum cleaners, and an initial superficial cleaning carried out with a surfactant, the oxidized paint was thinned (fig. 8).
Fully recovered in color luminosity and brilliance, the work will become part of the museum’s new nineteenth-century collection.