{"page":"\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/resources-c03aa079.css\" /\u003e\n\u003clink rel=\"stylesheet\" href=\"https://lessonplanet.com/assets/packs/css/lp_boclips_stylesheets-517835be.css\" media=\"all\" /\u003e\n\u003cdiv data-title='18th century paintings restored to original quality' data-url='/boclips/videos/5c54bf92d8eafeecae1442bf' data-video-url='/boclips/videos/5c54bf92d8eafeecae1442bf' id='bo_player_modal'\u003e\n\u003cdiv class='boclips-resource-page modal-dialog panel-container'\u003e\n\u003cdiv class='react-notifications-root'\u003e\u003c/div\u003e\n\u003cdiv class='rp-header'\u003e\n\u003cdiv class='rp-type'\u003e\n\u003ci aria-hidden='true' class='fai fa-regular fa-circle-play'\u003e\u003c/i\u003e\nVideo\n\u003c/div\u003e\n\u003ch1 class='rp-title' id='video-title'\u003e\n18th century paintings restored to original quality\n\u003c/h1\u003e\n\u003cdiv class='rp-actions'\u003e\n\u003cdiv class='mr-1'\u003e\n\u003ca class=\"btn btn-success\" data-posthog-event=\"Signup: LP Signup Activity\" data-posthog-location=\"body_link_boclips\" data-remote=\"true\" href=\"/subscription/new\"\u003e\u003cspan\u003e\u003cspan\u003eGet Free Access\u003c/span\u003e\u003cspan class=\"\"\u003e for 10 Days\u003c/span\u003e\u003cspan\u003e!\u003c/span\u003e\u003c/span\u003e\u003c/a\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-body'\u003e\n\u003cdiv class='rp-info'\u003e\n\u003cdiv aria-label='Hide resource details' class='rp-hide-info' role='button' tabindex='0'\u003e\u0026times;\u003c/div\u003e\n\u003ci aria-label='Expand resource details' class='rp-expand-info fai fa-solid fa-up-right-and-down-left-from-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003ci aria-label='Compress resource details' class='rp-compress-info fai fa-solid fa-down-left-and-up-right-to-center' role='button' tabindex='0'\u003e\u003c/i\u003e\n\u003cdiv class='rp-rating'\u003e\n\u003cspan class='resource-pool'\u003e\n\u003cspan class='pool-label'\u003ePublisher:\u003c/span\u003e\n\u003cspan class='pool-name'\u003e\n\u003cspan class='text'\u003e\u003ca data-publisher-id=\"30356011\" href=\"/search?publisher_ids%5B%5D=30356011\"\u003eCurated Video\u003c/a\u003e\u003c/span\u003e\n\u003c/span\u003e\n\u003c/span\u003e\n\u003c/div\u003e\n\u003cdiv class='rp-description'\u003e\n\u003cspan class='short-description'\u003eWashington, DC - June 18, 20121. Zoom in from four portraits by Gilbert Stuart in the conservation lab at the National Gallery of Art to Stuart's \"Vaughan-Sinclair\" portrait of George Washington2. Close-up of Stuart's portrait of second...\u003c/span\u003e\n\u003cspan class='full-description hide'\u003eWashington, DC - June 18, 2012\u003cbr/\u003e1. Zoom in from four portraits by Gilbert Stuart in the conservation lab at the National Gallery of Art to Stuart's \"Vaughan-Sinclair\" portrait of George Washington\u003cbr/\u003e2. Close-up of Stuart's portrait of second President of the United States, John Adams  \u003cbr/\u003e3. Close-up of Stuart's portrait of Abigail Adams, wife of John Adams  \u003cbr/\u003e4. SOUNDBITE: (English) Joanna Dunn, Conservator, National Gallery of Art: \u003cbr/\u003e\"All old master paintings were varnished by the artist, usually, or his dealer, and the reason for the varnish was to saturate the colours and also to protect the paint. With time, the varnish turns yellow, just as varnish on your floor would turn yellow. When that happens, it changes all the colours in the painting, so it no longer looks the way it did when the artist painted it. Our goal is to bring the painting back to how it looked when the artist finished it and how the artist wanted it to be seen.\"\u003cbr/\u003e5. Wide of inside conservation lab\u003cbr/\u003e6. Mid of Stuart portraits of John and Abigail Adams\u003cbr/\u003e7. Wide of four Stuart portraits \u003cbr/\u003e8. SOUNDBITE: (English) Joanna Dunn, Conservator, National Gallery of Art:\u003cbr/\u003e\"This is a portrait of Luke White by Gilbert Stuart. It has a very yellow varnish on the surface.\" \u003cbr/\u003e9. Close-up on portrait of Luke White, revealing sections which have been partially stripped of varnish\u003cbr/\u003e10. SOUNDBITE: (English) Joanna Dunn, Conservator, National Gallery of Art:\u003cbr/\u003e\"I've removed the varnish from this square here and this square here. And you can see that the cravat was a much brighter white and his coat was actually blue, not this greyish green we see here.\"\"\u003cbr/\u003e11. Mid of Dunn using swab to remove varnish from portrait of Luke White \u003cbr/\u003e12. Close-up of portrait with swab\u003cbr/\u003e13. SOUNDBITE: (English) Joanna Dunn, Conservator, National Gallery of Art:\u003cbr/\u003e\"I think if you look closely right here you can see this thick brush stroke right here. And you have similar brush strokes over here but we can't see it because the varnish is obscuring it.\"\u003cbr/\u003e14. STILL of Stuart's \"Vaughan-Sinclair\" portrait of George Washington before cleaning\u003cbr/\u003e15. STILL of Stuart's \"Vaughan-Sinclair\" portrait after cleaning\u003cbr/\u003e16. SOUNDBITE: (English) Nancy Anderson, Curator, British and American Paintings, National Gallery of Art:\u003cbr/\u003e\"What's emerged now that time's varnish is gone is everything we knew to be true and more. You get to see the virtuoso technique 'cause nothing's obscuring it anymore. And, you can see here, just on Washington, how many painters can do five-o'clock shadow that looks like that? And still not have it be obtrusive.\"\u003cbr/\u003e17. Close tilt up of \"Vaughan-Sinclair\" portrait \u003cbr/\u003e18. SOUNDBITE: (English) Nancy Anderson, Curator, British and American Paintings, National Gallery of Art:\u003cbr/\u003e\"What we know is that Washington was somewhat impatient during the sittings. He did not particularly enjoy sitting for perhaps, any artist, Stuart. He had other things to do. So, there's a kind of impatience I think in some of the images. This one, I think he seems to be fully engaged with the artist, especially after the cleaning, you can see the eyes much better than we, than we could before.\"   \u003cbr/\u003e19. Various of Joanna Dunn working on restoring portrait\u003cbr/\u003e20. Close-up of tear in portrait, UPSOUND: (English) Joanna Dunn, Conservator, National Gallery of Art: \"This tear probably happened in the 19th century. And, it was repaired at that time. And the restoration paint that filled it in was very heavy and it no longer matched in colour and it went over a lot of original paint. So, I took it off and I uncovered the original paint and now I am dotting in the losses. I'm matching the colour, I'm using a very small brush and I'm just filling in where the paint is missing without covering any original paint.\"  \u003cbr/\u003e21. Close-up of paint palette \u003cbr/\u003e22. Close-up of Dunn at work, UPSOUND: (English) \"Gilbert Stuart liked textured canvases, so the paint is missing from the highest points, which is where the fibres crossed. So, I'm literally just dotting in a dot the size of where the canvas crossed, so smaller than the head of a pin.\"\u003cbr/\u003e23. Close-up of brush working on canvas tear \u003cbr/\u003e24. Pan left from Dunn working to portraits \u003cbr/\u003e25. Wide exterior of National Gallery of Art \u003cbr/\u003eThough Gilbert Stuart painted most of his portraits during the 18th century, they look as good as new in 2012.\u003cbr/\u003eThat's down to the efforts being undertaken in the conservation lab at the National Gallery of Art in Washington - where the paintings are being painstakingly restored. \u003cbr/\u003eA quiet revolution is underway at the National Gallery of Art in Washington.  \u003cbr/\u003eIn the conservation lab, a team is at work protecting 16 portraits by American artist Gilbert Stuart.\u003cbr/\u003eStuart was the premiere American portrait painter in the years following the American Revolution. \u003cbr/\u003eStuart studied in England alongside painter Benjamin West, before returning to the fledgling country where he was determined to paint portraits of George Washington and the other American Founding Fathers. \u003cbr/\u003eAt the National Gallery of Art, the two hundred year old paintings include the iconic \"Vaughan-Sinclair\" portrait of George Washington, along with likenesses of John Adams and his wife, Abigail. \u003cbr/\u003eStuart also painted noted businessmen, lawyers, and diplomats. \u003cbr/\u003eLike all master portrait painters of his day, Stuart varnished the completed paintings, as a way to protect his work and also to add another layer of luster to the paint.  \u003cbr/\u003eHowever, while protecting and increasing the beauty of the painting initially, the varnish would eventually start to yellow.\u003cbr/\u003eAnd after several decades, the yellowed varnish would dull the overall dimensionality of the painting and compromise the intensity of the colours.\u003cbr/\u003e\"When that happens, it changes all the colours in the painting, so it no longer looks the way it did when the artist painted it. Our goal is to bring the painting back to how it looked when the artist finished it and how the artist wanted it to be seen,\" explains Joanna Dunn, who's working as a Conservator on the project. \u003cbr/\u003eBefore the Washington portrait was cleaned, the portrait appears to have a yellowed-tinged flatness.   \u003cbr/\u003eAfterwards, the \"character\" of the Washington in the portrait begins to emerge.  \u003cbr/\u003e\"You get to see the virtuoso technique 'cause nothing's obscuring it anymore. And, you can see here, just on Washington, how many painters can do five-o'clock shadow that looks like that? And still not have it be obtrusive,\" Nancy Anderson, Curator of British and American Paintings says. \u003cbr/\u003eEach portrait is a singular likeness combined with an impression of the sitter's personality. And, as Nancy, tells it, Washington was often impatient during his sittings. \u003cbr/\u003e\"He had other things to do. So, there's a kind of impatience I think in some of the images,\" she says.  \u003cbr/\u003eOn another Stuart painting, a large rip in the canvas is being repaired by a process known as \"in-painting\". As part of the conservation process, tears in the portrait were cleaned of old paint and repaired with a contemporary mixture. \u003cbr/\u003eWhen finished, only a trained eye will be able to detect the difference between the original paint and the repaired rip. \u003cbr/\u003eJoanna Dunn talks about the painstaking effort required in the restoration process: \u003cbr/\u003e\"I uncovered the original paint and now I am dotting in the losses. I'm matching the colour, I'm using a very small brush and I'm just filling in where the paint is missing without covering any original paint.\" \u003cbr/\u003eWork on the Stuart portraits is nearly complete, with a new exhibition planned for the autumn. \u003cbr/\u003eStuart made his fortune by painting the first five Presidents of the new republic.  He made over a hundred copies of his Washington portrait and sold each for one hundred dollars (eighty euros). \u003cbr/\u003eGilbert Stuart portraits can be found in the National Portrait Gallery in London and the Museum of Fine Arts in Boston, as well as the National Gallery in Washington.\u003cbr/\u003eClients are reminded: \u003cbr/\u003e(i) to check the terms of their licence agreements for use of content outside news programming and that further advice and assistance can be obtained from the AP Archive on: Tel +44 (0) 20 7482 7482 Email: info@aparchive.com. \u003cbr/\u003e(ii) they should check with the applicable collecting society in their Territory regarding the clearance of any sound recording or performance included within the AP Television News service \u003cbr/\u003e(iii) they have editorial responsibility for the use of all and any content included within the AP Television News service and for libel, privacy, compliance and third party rights applicable to their 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id='concepts-heading'\u003eConcepts\u003c/h2\u003e\n\u003cdiv class='clearfix'\u003e\n\u003cdiv class='details-list concepts' data-identifier='Boclips::VideoDecorator' data-type='concepts'\u003enorth america, artists, painting, color, colors, washington, time\u003c/div\u003e\n\u003cdiv class='concepts-toggle-buttons' data-identifier='Boclips::VideoDecorator'\u003e\n\u003cbutton aria-expanded='false' class='more btn-link' type='button'\u003e\n\u003cspan\u003eShow More\u003c/span\u003e\n\u003ci aria-hidden='true' class='fa-solid fa-caret-down ml5'\u003e\u003c/i\u003e\n\u003c/button\u003e\n\u003cbutton aria-expanded='true' class='less btn-link' style='display: none;' type='button'\u003e\n\u003cspan\u003eShow Less\u003c/span\u003e\n\u003ci aria-hidden='true' class='fa-solid fa-caret-up ml5'\u003e\u003c/i\u003e\n\u003c/button\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003c/div\u003e\n\u003cdiv aria-labelledby='additional-tags-heading' class='rp-info-section'\u003e\n\u003ch2 class='title' 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