Velázquez’ canvases in his Seville period: linking stories….

The Getty Foundation’s Conserving Canvas Initiative aims to ensure that skills in the structural treatment of works on canvas are not lost in a period where minimal intervention is a dominant approach.

Ian McClure, Susan Mores Hilles Chief Conservator at Yale University Art Gallery wrote about my work:
“Her reconstructions based on high resolution-radiographs of paintings duplicate canvases, for example used by El Greco and by Velázquez in his Seville period where there is little information about his practice and where his paintings are not securely attributed. Ms. Loermans has set out to reproduce as many of his early canvases as possible which will contribute to our knowledge of the artist.”

Can’t wait to know if we will find more details on the canvases in the reproduction of the documents by Factum Arte.
Imagine we find where and how they were woven…..that could open a whole new resource of information on textile production in that period !

Recovery of the main documents that portray the life of the painter Diego Velázquez in Seville

Very interesting news from Casa Natal de Velázquez!

Recovery of the main documents and produce reproductions identical to the originals by Factum Arte will give Lab O the oportunity to search for information on the canvases…can’t wait…

https://casanatalvelazquez.com/casa-natal-de-velazquez-albergara-facsimiles/?fbclid=IwAR3BCEdK_WwTHX1WSsr9_Qwm4W66jAHPYn3gNFCeJNbEdkQgNTzLOptbJHw

http://factumfoundation.org

Titain has painted on a canvas with a pattern…

Saint John the Evangelist on Patmos

It looks as if the canvas has a herringbone twill pattern. After analysing I found that the draft of the warp is an M W design. Much used in varieties in the canvases I have looked at until now. This textile is woven as a straight draft in the weft.

weave draft of the pattern of the canvas

Titian has painted Venus and Adonis on a canvas with a pattern

It has a very similar pattern as the canvas described above , find more details on https://labo.pt/titian-saint-john-the-evangelist-at-patmos

“Os padrões ocultos nas pinturas de Diego Velázquez”

Looking very much forward to give my first presentation next week for Factum Foundation and Casa Natal de Velázquez. Because of Covid-19 it will be on line.

https://www.factumfoundation.org/ind/628/casa-natal-de-velÃ-zquez

https://casanatalvelazquez.com

Last February I applied for a grant at Gulbenkian Foundation but it has not been approved.

I did not know by then that another opportunity was waiting at Factum Foundation…

On 3th of March I wrote:…I felt encouraged to present a proposal for a grant at the Gulbenkian Foundation to decipher the seven canvases with a pattern, as mentioned in this publication. Thanks to all of you who believe in this project.
Especial thanks to Maria Manuela Santana, Textile Conservator at the Palacio da Ajuda in Lisbon and directive member of CIETA, and to Ian McClure, Chief Conservator at Yale University Art Gallery for their reference letters.

…where the diagonals do not line up perfectly…

The weave draft of the canvas of “The Burial of the Count of Orgaz”
the first time I saw a draft where the diagonals did not line up.
citation:
“This cannot be attributed to a fault in the use of the pedals, because the reproduction is constant, but to an intentional idea of the weaver’s due to a cause we do not know.
This rhombus may be called <twill based,> of (3.1,3.2, 1.2), which comprises
12 threads and 12 pick in the evolution cycle and needs for its production
12 shaft, operated by twelve pedals. The union ol the pedals to the shalt is done according to the twill base .”
Mantilla de los Rios ICCROM library 20170922141234, 1973
First analyses of two other canvases of El Greco paintings in which it looks as if the diagonals also do not line up!

left: The Assumption of the Virgin, 1577–79
Oil on canvas; 403.2 × 211.8 cm (1583⁄4 × 833⁄4 in.) The Art Institute of Chicago, Gift of Nancy Atwood Sprague in memory of Albert Arnold Sprague, 1906.99
Xray image courtesy of the Art Institute of Chicago

right: The Disrobing of Christ, 1577–79.
Oil on canvas; 285 × 173 cm (1123⁄16 × 681⁄8 in.). Toledo Cathedral.
source Xray image: Alba Carcelén, Laura (2015) Los soportes textiles utilizados por los pintores españoles a lo largo del siglo XVII: contexto histórico y estudio técnico a través de la radiografía. [Thesis]
Interesting is that the same texture was found in an antependium from Middelburg-Nassau -Grimbergen, dated to the first third of the 16th century and in a fragment of linen in the collection of the Abbey in St Truiden in Tongeren, Belgium