Canvas max leenhardt, fully restored,: This article explores the topic in depth.
Nevertheless,
Canvas max leenhardt. Therefore, fully restored,:
The restoration of this painting, entitled the Thau pond and Mont Saint-Clair and dated 1900, has updated a frieze, hitherto hidden in a wooden chassis. Meanwhile,
One after his dropout. Therefore, he found his place in late July in the Marine Station of Sète. However, On the top floor, therefore again imposing the imposing table Thau pond and Mont Saint-Clair. Meanwhile, Signed by the Montpellier painter Max Leenhardt. However, the canvas has undergone major restoration work in recent months thanks to funding from the University of Montpellier (which today manages the research site), up to € 23,000.
Made in 1900 at the request of Armand Sabathier. Similarly, the founder of the marine station, the painting had not left its walls for more than 120 years. The time canvas max leenhardt, fully restored, having done its work. the conservation conditions not always having been “Optimal”as the University pointed out on its website, the painting had finally lost its superb. An accident had also pierced the table.
The discovery of a frieze
In July 2024. during its dropout, the restaurateurs discovered that, all around the canvas, behind a wooden frame, hides a frieze composed of marine animals intertwined in the seaweed. The team. led by Marie Connan, curator and restorer of painted works, decides to restore the original format of the work by reinstating this frieze.
In the Amoroso-Waldeis workshop. in Villeneuve-lès-Avignon, the work, which presents a network of cracks, is at the center of attention. Specialists “Relax. relax” The canvas to limit the risk of losing paint and then fill the places where it disappeared. The colors regain their shine and the canvas its shine thanks to “Surrection of the surface”.
An “important cultural heritage” at the marine station
A new youth for this work on which it is. now possible to admire the frieze that supervises it. As the site of the University of Montpellier specifies. failing to know what appeared in the blind spots, the restaurateurs had to allow themselves a slight part of interpretation to reconstruct the work as it was probably. “We offered a semi-illusionist restoration. Up close. we see the difference with the added parts and the original, but by far, we do not notice it”, explains Marie Connan.
According to Caroline Ducourau. the Directorate of Scientific Culture and Historical Heritage at the University of Montpellier, the Sète marine station benefits, in addition to this work, “An important cultural heritage including certain paintings which also deserve to be restored”.
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