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Asking for help from weave draft specialists !!!

Weave drafts of the canvas of Velázquez’s “Adoration of the Magi”

I tried to see the effect of switching the draft in the warp and in the weft. These pictures show the effect of ‘back and front view” and turning the ‘textile’ 90*

I will have to weave the textile to confirm if they are different or not.

Or do you think there are matches if we could see the black (warp) also as lines in the computer generated (Iweaveit) pictures ?

The reason for this puzzle is that it might give a more secure idea of warp and weft direction in canvases without a selvedge by assuming the most logic weave draft to work out on the loom….note: the drafts at the bottom are matching.

There is a difference of 4 threads in the weft repeat. The warp threading and lifting is the same in both textiles. The weaver has used a sequence that skipped 4 wefts in each repeat.

Disrobing of Christ: X-ray image, analyses and weave draft superimposed

Disrobing of Christ: X-ray image

Disrobing of Christ: ‘drawing’ the lines of the threads

Disrobing of Christ: hand drawing on square paper and suffering in trying to find the pattern

Disrobing of Christ: hand drawing on square paper

weft repeat of 52 passes,

Disrobing of Christ: computer generated weave draft. In the red circle is seen a difference with the draft of the textile of the canvas of The Burial of the Count of Orgaz.

Burial of the Count of Orgaz , weave draft, weft repeat 56 passes

Velázquez’s Adoración de los Reyes Magos painted in Seville in 1619, is on a canvas with a pattern. Analyses of the original textile at one of the borders show an M W twill pattern where the diagonals do not line up perfectly.
I will again double check the weave draft I have generated on Weavelt, and publish the full draft soon.

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 !

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

“Com Velázquez nunca te vas sintiendo que lo has descubierto todo” https://casanatalvelazquez.com/en/

An amazing project for the recovery of what was the birthplace of one of the great geniuses of painting Diego Velázquez in Seville and to convert the house in an interpretation center.

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

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.

Lab O steps out of lockdown with the good news that Factum Foundation , Amigos de la casa natal de Velázquez and Lab O are looking forward to many things to come. 

Without following The Art Newspaper I would not have known about their interesting talks and not have found Factum Foundation. Thanks Adam Lowe and Carlos Bayod Lucini for the nice conversations on line!

Stay tuned!