1 00:00:14,230 --> 00:00:43,270 Guys, where are we going? What is this? 2 00:00:44,270 --> 00:00:46,270 Da Vinci Restauro! 3 00:00:46,270 --> 00:00:47,270 Let's see... 4 00:00:49,270 --> 00:00:50,270 Is it true? 5 00:00:50,270 --> 00:00:51,270 And if we call? 6 00:00:51,270 --> 00:00:52,270 Come on, let's go! 7 00:01:20,540 --> 00:01:38,340 We wanted to know what you do here, what is your job exactly? 8 00:01:38,340 --> 00:01:51,340 Well, we are dedicated to the restoration of works of art. We are two partners who met in the Faculty of Fine Arts and started this process about 12 years ago. 9 00:01:51,340 --> 00:01:57,340 You have said that you had to study fine arts with your partner, but what else have you had to study related to science? 10 00:01:57,340 --> 00:02:05,340 In my specialty, which was painting restoration, we had a degree that was physics and chemistry. 11 00:02:05,340 --> 00:02:12,340 We rely mainly on chemical studies in science. 12 00:02:12,340 --> 00:02:21,340 When the work arrives in our workshop, the first thing we do is photographically document all the details, 13 00:02:21,340 --> 00:02:27,340 both in direct light and in bright light, in front, behind the canvas, 14 00:02:27,340 --> 00:02:35,340 Any small detail, meticulous, is reflected photographically. 15 00:02:35,340 --> 00:02:39,340 Then we proceed to the technical documentation of the work, 16 00:02:39,340 --> 00:02:42,340 which is for what we have a laboratory. 17 00:02:42,340 --> 00:02:48,340 We take samples, some paint scales of different colors, 18 00:02:48,340 --> 00:02:54,340 a white scale, a blue scale, a red scale, up to five, 19 00:02:54,340 --> 00:02:56,340 and also a cloth sample. 20 00:02:56,340 --> 00:03:03,340 This is taken to a laboratory where some chemists do the technical study of the work. 21 00:03:03,340 --> 00:03:08,340 And what is the information you get when you receive the laboratory results? 22 00:03:08,340 --> 00:03:14,340 Well, I'm going to show you some stratigraphies so you can see what we're talking about. 23 00:03:14,340 --> 00:03:16,340 Come with me. 24 00:03:16,340 --> 00:03:31,340 The stratigraphy is a painting sample that is submitted to a treatment to be able to make a photograph through the microscope. 25 00:03:31,340 --> 00:03:43,340 In this way we can see the preparation layer, we can see the different strata, the different layers of paint and finally the varnish. 26 00:03:43,340 --> 00:03:45,340 And this is a radiograph. 27 00:03:45,340 --> 00:03:47,340 It is a radiograph. 28 00:03:47,340 --> 00:03:49,340 Does it form part of your work? 29 00:03:49,340 --> 00:03:55,340 Also. The X-rays are also part of our work. 30 00:03:55,340 --> 00:04:03,340 Even if you don't believe it, we don't just make X-ray plates when we break something or go to the doctor, 31 00:04:03,340 --> 00:04:07,340 but the paintings and sculptures are also radiographed. 32 00:04:07,340 --> 00:04:13,340 This is a work of a particular client who suspected that there could be another painting below his. 33 00:04:13,340 --> 00:04:20,339 It was a painting of the 17th century and we took it to be radiographed. 34 00:04:20,339 --> 00:04:27,339 The pigments with lower absorption of X-rays appear more clearly. 35 00:04:27,339 --> 00:04:31,339 In this case, we can see a face. 36 00:04:31,339 --> 00:04:41,339 Here you can see the frame of the bastion that tightens the wreath and in this case we are also seeing a small repentance in the Roman area. 37 00:04:41,339 --> 00:04:47,339 For a hotel, we restored a virgin on a occasion that was surrounded by a black background. 38 00:04:47,339 --> 00:04:54,339 We began to clean and we saw that the black was going very easily and the face of an angel appeared. 39 00:04:54,339 --> 00:05:03,339 We did different cuts, seeing that there were pink tones, eyes, hair, and we told the owner. 40 00:05:03,339 --> 00:05:12,339 The owner gave consent to raise the repaint and a choir of angels appeared behind the Virgin, all around her. 41 00:05:12,339 --> 00:05:21,339 A radiography would also have given that image on a plate without raising the repaint and seeing if it was worth removing it. 42 00:05:21,339 --> 00:05:24,339 In this case, it came out well. 43 00:05:24,339 --> 00:05:29,339 A repaint can save a work from its destruction. 44 00:05:29,339 --> 00:05:31,339 This was the case in the Civil War. 45 00:05:31,339 --> 00:05:35,339 This is a table that belongs to a retable 46 00:05:35,339 --> 00:05:40,339 in which both this Saint Paul and the Saint Peter 47 00:05:40,339 --> 00:05:43,339 that appears on the other side of the retable were repainted. 48 00:05:43,339 --> 00:05:45,339 This is the restored painting. 49 00:05:45,339 --> 00:05:47,339 This is what the repaint was hiding. 50 00:05:47,339 --> 00:06:04,060 This is the retable of St. Paul and St. Peter. 51 00:06:04,060 --> 00:06:09,060 Thanks to the fact that the original painting was hidden, 52 00:06:09,060 --> 00:06:16,060 these ugly repaintings were not deteriorated during the Civil War. 53 00:06:16,060 --> 00:06:21,060 So, in this case, it was worse than the original. 54 00:06:21,060 --> 00:06:27,060 But thanks to the fact that it was worse, it could be saved, no one was interested. 55 00:06:27,060 --> 00:06:30,060 It is so ugly that we are not going to destroy it. 56 00:06:30,060 --> 00:06:33,060 What products do you use to clean a painting? 57 00:06:33,060 --> 00:06:37,060 Well, as I said before, we rely a lot on chemistry. 58 00:06:37,060 --> 00:06:40,060 We work with chemical products. 59 00:06:40,060 --> 00:06:49,060 We use different solvents that, mixed together, are able to remove the paint layer that we want to clean, 60 00:06:49,060 --> 00:06:53,060 whether it is a repaint, remove a repaint or lift a layer of varnish. 61 00:06:53,060 --> 00:07:00,949 Look, with the ultraviolet lamp, look, I can see ... 62 00:07:00,949 --> 00:07:05,949 Well, you are going to tell me, what parts of this painting have repaints? 63 00:07:05,949 --> 00:07:21,949 All this that appears here are repaintings that with the visible light are not perceptible. 64 00:07:21,949 --> 00:07:23,949 If you want you can turn on the light. 65 00:07:23,949 --> 00:07:24,949 And we see the difference. 66 00:07:24,949 --> 00:07:26,949 We see the difference. 67 00:07:26,949 --> 00:07:37,949 The ultraviolet lamp gives information about the varnish layers, about the repaintings, 68 00:07:37,949 --> 00:07:41,949 it can even give us information about whether a signature is false or not. 69 00:07:41,949 --> 00:07:46,949 Thanks to the ultraviolet lamp we have seen a false signature 70 00:07:46,949 --> 00:08:01,949 and thanks to the X-rays we have also found works that could be called fake or simply non-contemporary to the artist in question, 71 00:08:01,949 --> 00:08:10,949 due to the fact that the characterization of materials did not correspond with the time of that author in question. 72 00:08:10,949 --> 00:08:16,949 but the scientific procedure helps, given that works of art in many cases have a lot of value, 73 00:08:16,949 --> 00:08:25,949 it helps in its authentication and verification that a person, a collector, buys a work and that he really has an authentic work. 74 00:08:25,949 --> 00:08:29,949 If you want to follow the processes that we are following with the restoration, 75 00:08:29,949 --> 00:08:34,950 we are writing in our blog a new book with divulgative purposes, 76 00:08:34,950 --> 00:08:41,950 so that normal people can see the different processes that are going on in the restoration 77 00:08:41,950 --> 00:08:45,950 and so that everyone can learn. You'll see. 78 00:08:45,950 --> 00:08:47,950 Thank you very much. 79 00:08:49,950 --> 00:08:51,029 Ta-da!