“Natività” by Piero della Francesca returns to the National Gallery

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Two months from the restoration, the “Natività”, by Piero della Francesca, risalente a diversi secoli fa, è tornato in mostra at the National Gallery of London.

Sono serviti quindici mesi di meticoloso conservative treatment per ridare all’opera la sua originala bellezza.

The “Natività” by Piero della Francesca is turned into a show at the National Gallery: gli interventi di restauro

Il capolavoro di Piero della Francesca, è tra i più apprezzati della National Gallery of Londonwhere it is kept in custody from 1874.

Gli interventi di restaurateur dell’antico dipintos are the state of Jill Dunkerton, senior restorer presso il Museo, which has assicurato de aver portato ahead of the interventioni ridotti to the minimum using pennelli with molto piccoli and di extrema precisione.

Other to restore the paint and colors similar to that original, the intervention of restoration, has revealed also new details, risolvendo, tra l’altro, a mystery of old dates.

L’opera, infatti, not an incompiuto dipintocome in molti hanno creduto a lungo.

An erroneous deduction, it mainly deals with man’s mancanza su su terreno and dall’assenza di a precise traiettoria della luce.

Ecco cosa has spiegato in proposito la stessa Dunkerton to “The Art Newspaper”:

The stain of the man protected in the image, previously seen as an indication that the image was incompiuta, but now it will be seen as an amplification of this visionary aspect”.

Secondo la restaurateur, ciò che prima appariva incompiuto was only the result of the “excessive polishing” computed during the previous restoration interventions.

The restorer, if it is mainly occupied by ridipingere, only partially appears, subtly watching over the line of the design, without refining it troppo.

Another davvero surprising result is also the rivalry of one of the two aree less notevoli of the dipinto, ovvero, the part in cui figurano delle piccole pietre grigie della struttura stabile righto le figure.

In particular, le pietre grigie della stalla If it sounds riveted by an abnormal chiarore, it generates an intense light source coming from the height.

Qui, infatti, the ritocco della vernice abrasa has shown a macchia di più chiare più chiare, carrying the spectators to renderi with what c’è, in effect, a fascia di lights che comes irradiated from a forum in the tetto di paglia della stalla.

Around the same time as the treatment, now the capolavoro will be able to admire in all its splendor the Museo di Londra, appena in time for the Christmas festivities.

The meaning of the opera

Second i ricercatori of the London museum, the “Natività” by Piero della Francesca, presents a deep and moving vision of her born of Christ.

Il dipinto ad olio che si distinguishes by the grace of his figure, his narrative power, the luminosity of his colors and his spirituality shows la Vergine umilmente inginocchiata its a rocky promontory, in adorazione del Cristo bambino.

A terra, davanti a lei, giace infatti, il Bambin Gesù, protetto dal freddo da un manto di colore azzurro mentre protende le braccia verso di lei, mentre gli angeli forniscono un accompagnamento musicale polyphonic.

Dietro di loro, due pastori, l’anziano Giuseppe, a good and an asino are witnesses of the scene, the quality is inspired there miraculous vision of Santa Brigida say Svezia.

Nonostante l’opera versasse in pessime condizioni conservative, was acquired from the National Gallery of London in 1874.

At that time, infatti, the dipinto was very macchiato because of goffi restoration and excessive intervention of abrasive polishing that did not alter the initial representation. Anche il pannello di legno was broken and the immagini dei pastori was state consumate fino al disegno sottostante.

Tuttavia the London Museum, acquired the capolavoro di Piero della Francesca per circa 2.5 million sterling e dopo vari restauri, il dipinto è oggi one of the più amati dell’intera galleria.



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“Natività” by Piero della Francesca returns to the National Gallery


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