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Third image: before and after restoration/conservation

 It was 12 years ago that the art dealer Robert Simon took a sorry looking painting wrapped, incredibly, in a bin liner to the New York home of his friend, the art restorers Dianne and Mario Modestini.

The work was clearly damaged and obscured by clumsy overpainting, but Mario was still impressed. He thought it could well be a painting by a Leonardo follower. Dianne agreed and began cleaning the painting that night.

The former director of the Met, Tom Campbell, quipped on Instagram: “Inch for inch, conservator Dianne Modestini must be among the most highly-valued living artists in the world!”

Modestini is in her late 70s and hugely respected in her field. She has said that she tried not to think about the significance of what she was working on during the six-year restoration.

“People say, ‘How can you touch it, it’s so scary,’” she said in an interview. “I wasn’t frightened of it in those ways – that it’s one of 16 paintings, it’s worth x amount of dollars – because I would have been paralysed, I wouldn’t be able to work like that.”

Modestini worked slowly and painstakingly, having to make nerve-jangling retouches to badly damaged areas, including Christ’s eyes and lips. She said she wanted to be sure “that none of my restorations had impinged on the original, that I had not done too much, because old pictures have to look old – if you take out every crack, every spot, every anomaly, they can easily look like a reproduction”.

When she finally finished conserving the work, Modestini, a professor at the Conservation Centre of New York University, admitted it felt like a painful breakup. She suffered separation anxiety.

“I’m quite serious. It was a very intense picture and I felt a whole slipstream of artistry and genius and some sort of otherworldliness that I’ll never experience again.”

How Salvator Mundi became the most expensive painting ever sold at auction | Art and design | The Guardian

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more than tolerable for $5 screw-top fizz
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makes that andre crap tolerable when used as a chaser
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Reposted frompoisonedivy poisonedivy viawitchbitch witchbitch
My solitude doesn’t depend on the presence or absence of people; on the contrary, I hate who steals my solitude without, in exchange, offering me true company.
— Friedrich Nietzsche (via quotebook-in)
Reposted fromLittleJack LittleJack viawitchbitch witchbitch
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Reposted fromwitchbitch witchbitch

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