Abstract

This paper reports on activities carried out as part of a pre-conservation studies of the painting by Dmitry Levitsky, “The Portrait of F.P. Makerovsky in a Masquerade Costume” (1789, the State Tretyakov Gallery). Samples were taken and prepared for further study within the following algorithm. Using optical microscopy of cross-sections of the samples taken, structural elements of layered compositions were revealed and external differences between them were established. X-ray fluorescence spectroscopy was used to evaluate the elemental composition of the painting surface and cross-sections of samples. Scanning electron microscopy combined with energy dispersive X-ray spectroscopy was used to clarify the elemental composition of each of the structural elements of the samples taken, their submicro- and microdimensional inclusions, to map the distribution of chemical elements over the studied surface, and to determine the dispersion of organic and inorganic components contained in the material. Micro-FTIR was used to identify functional groups and to determine the main classes of inorganic compounds, as well as binders, used, including in the local analysis of micro-inclusions. The list of specific chemical compounds in the composition of the studied paint layers and grounds, which included an examination of the varnish coating, was determined with micro-Raman spectroscopy using data obtained by the above methods. As a result of the study, complementary information was obtained on the chemical composition of the inorganic components used, of the binder and of the varnish coating, which is required for further conservation of this work of art.

Highlights

  • IntroductionLevitsky’s skill was greatly appreciated by contemporaries; for 17 years, he headed the portrait class of the Academy of Arts in St. Petersburg

  • The studied painting is the work of one of the most famous Russian masters of the eighteenth century, Dmitry Levitsky (1735–1822), whose name can be justlyLevitsky’s skill was greatly appreciated by contemporaries; for 17 years, he headed the portrait class of the Academy of Arts in St

  • All researchers of Levitsky described the same feature of the artist that appeared in the 1780–1790s, his “liquid” brushwork and how this affected the preservation of the works later

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Summary

Introduction

Levitsky’s skill was greatly appreciated by contemporaries; for 17 years, he headed the portrait class of the Academy of Arts in St. Petersburg. One aspect of Levitsky’s diverse heritage is children’s portraits, in which the master seeks to emphasise the individuality of the model. The grandson of the young man represented in the portrait, D.F. Makerovsky, rejected all offers to sell the heirloom. Makerovsky, rejected all offers to sell the heirloom After his death in 1913 it became possible to purchase the painting from the heir, N.S. Gavrilov. About 92 cm high, a figure is painted, approximately to the knees. The two lower parts of the canvas had a height of about 14 and 8 cm, respectively. The red cloak had specific damage, which often occurs under the impact of high temperature

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