Name: 保護約書亞-雷諾茲肖像畫大師 (Conserving Joshua Reynolds: The Master Portrait Painter)
Uploaded: 2025-11-04T18:36:03.000Z
Duration: 4 min 26 s

Joshua Reynolds was one of the most celebrated artists in the history of British art.

喬舒亞·雷諾茲是英國藝術史上最受讚譽的藝術家之一。

Through his painting and teaching, he dominated artistic life in Britain in the mid to late 18th century.

透過他的繪畫和教學，他在十八世紀中後期主導了英國的藝術生活。

基礎被動語態

Anyone who was anyone was painted by Reynolds.

當時的達官顯貴幾乎都由雷諾茲繪製肖像。

Over the course of a career spanning 50 years, he transformed what a portrait could be.

在長達五十年的職業生涯中，他徹底改變了肖像畫的可能性。

And in his role as founder president of the Royal Academy, through his teaching and art theories, he shaped the school of British art well into the 19th century.

並且，作為皇家學會的創始會長，他透過教學和藝術理論，塑造了英國藝術學派，影響深遠至十九世紀。

English Heritage cares for many works by Reynolds, 17 of which are at Kenwood.

英格蘭遺產委員會負責保管雷諾茲的許多作品，其中十七件在肯伍德。

To understand more about Reynolds as an artist and in time for his 300th birthday in 2023, we've been closely examining four of the paintings from Kenwood and are conserv have been treating two of them.

為了更瞭解雷諾茲這位藝術家，並在他 2023 年 300 歲生日之際，我們仔細檢視了肯伍德的四幅畫作，並且我們正在修復其中兩幅。

So one of the paintings that we've been looking at is possibly the last portrait that Reynolds worked on.

其中一幅我們正在研究的畫，可能是雷諾茲最後完成的肖像畫。

這幅畫是考克斯女士和她的姪女。

We knew it hadn't been treated for a long time, and

我們知道它已經很久沒有處理過了，

we were keen to have a look and see if we could make any improvements.

我們很想看看能不能做些改進。

One of the things that we know about Reynolds technique is as conservators, it makes our life very difficult because the materials that he used to paint can be very susceptible to the sorts of solvents that we would normally use to clean a painting.

我們作為修復師，對雷諾茲的技法有一定了解，這讓我們的工作變得非常困難，因為他使用的顏料對我們平常清潔畫作時會用的溶劑非常敏感。

We have to be really careful that anything that we decide to take off is definitely not by him.

我們必須非常小心，確保我們決定移除的任何東西絕對不是他畫的。

He was renowned for coming back to his pictures and fiddling with them after perhaps he'd already varnished them and putting further layers of paint on on top of varnish layers.

他以在畫作完成後，甚至在塗上亮光漆後，又回到畫作上進行修改，並在亮光漆層上再加一層顏料而聞名。

He'd also sometimes mix the varnish in with his oil paint, which makes it tremendously difficult to really work out that what we're taking off is really something that shouldn't be there.

他有時也會將亮光漆與油畫顏料混合，這使得我們很難真正判斷我們移除的東西是否真的不應該在那裡。

So one of the things that was quite interesting when we cleaned the painting or started the process of cleaning the painting, is the area of the landscape had been really heavily disfigured by a very thick layer of darker varnish.

所以，當我們清潔畫作或開始清潔畫作時，一個很有趣的發現是，風景畫的部分被一層非常厚的、較深的亮光漆嚴重破壞了。

And removing that re established the fact that the sitter is sitting on a stone bench with a landscape in the distance behind it.

移除那層亮光漆後，重新確立了畫中人坐在石凳上，背景是遠方的風景。

And the cooler tones that we have regained as a process of this cleaning really make a lot more sense now in the composition.

透過清潔過程我們重新找回的較冷色調，現在在構圖上變得更有意義了。

This painting by Reynolds is of Master Philip York.

這幅雷諾茲的畫作是關於菲利普·約克爵士的。

It's got this very yellow varnish on it and the varnish is quite degraded now, and

它有一層非常黃的亮光漆，現在這層亮光漆已經嚴重退化了，

we wanted to look at whether that could be removed safely.

我們想看看是否能安全地移除它。

First of all, I looked with ultraviolet light, which is really helpful for looking at the surface layers of the painting, you can also see there are some darker areas.

首先，我用紫外線燈觀察，這對觀察畫作的表面層非常有幫助，您也可以看到有些較暗的區域。

We knew that it was treated in the 1990s.

我們知道這幅畫在1990年代經過處理。

then it was treated before that in the 1950s by a restorer called Buttery.

在那之前，它在1950年代由一位名叫Buttery的修復師處理過。

I had a really good look at it under the microscope, and

I could work out that a very old layer had been put on the painting, which was a sort of toned varnish layer.

我發現畫作上被上了一層非常舊的染色亮光漆層。

And when we did the medium analysis on them, we found that they did contain pine resin, which is quite unusual.

而且我們對這些進行了介質分析，發現它們確實含有松香樹脂，這很不尋常。

And then further analysis was done on the paint layers themselves, and

然後進一步分析了顏料層本身，

that was found to contain oil plus this pine resin.

發現它含有油加上這種松香樹脂。

再次強調，含有松香樹脂非常少見。

And it indicated that probably that layer was put on by Reynolds himself.

這表明這層可能是雷諾茲本人塗上的。

The pine resin layer is very similar to the glaze layers that Reynolds applied finally.

松香樹脂層與雷諾茲最後塗上的罩染層非常相似。

So they were mixed with oil and resin, and they're very thin and delicate.

所以它們與油和樹脂混合，而且非常薄且精緻。

So I don't think it's possible to clean the painting any further.

所以我認為這幅畫無法再進一步清潔了。

However, that doesn't mean that in the future there might be another way, another technique that comes available.

然而，這並不意味著未來可能會有另一種方法、另一種新技術出現。

And we've learned an awful lot about the painting antis technique.

我們對這幅畫的技術學到了很多。