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After texturing, the painting was varnished with an isolating coat of PVA AYAB. The painting was then placed on an easel in order to begin inpainting with Golden Conservation PVA Colors. I began with the sky, the most abstract and therefore easiest area of inpainting. However, because of the amount of loss, it was still difficult to discern the imagery and to accurately reconstruct the landscape. Therefore, my first step was to inpaint a general color that was relatively close to the surrounding area. This way, the areas of loss would be reduced and less distracting, which would lead to an easier appraisal and analysis.
Currently, I have just completed this initial inpainting campaign. In the future, I will fine-tune the inpainting of the sky, and under the supervision and aid of Dr. deGhetaldi, reconstruct major areas of loss in the sky. Afterwards, I will inpaint the remaining areas of loss.
Building upon the experience gained in my previous internship with WUDPAC's Dr. Joyce Hill Stoner at Winterthur Museum, this opportunity furthered my knowledge and skill in the structural and aesthetic treatment of a severely damaged painting. This opportunity has inspired me to pursue a career in private conservation and helped prepare me for admission to a graduate conservation program. I am so grateful to Professor Baade and Dr. deGhetaldi for allowing me to continue practicing conservation during this global pandemic and for giving me access to their collection of conservation literature. Without their help, I would not be able to continue studying this incredible field.
— Kelsey Marino, Class of 2020, Art Conservation major, University of Delaware Woman of Promise 2020