Ahmet OZUCER

MIMAR SINAN FINE ARTS UNIVERSITY

FACULTY OF FINE ARTS
DEPARTMENT OF CONSERVATION AND RESTORATION OF ARTWORKS

Istanbul / Turkey
2019

ahmetozucer@gmail.com
Abstract

This article, titled Patina, was written to emphasize the value of patina, one of the concepts that is not as
valuable as it used to be, in contrast to the unconscious implementation of the restoration and conservation
practices of today.
Cleaning the patina during painting restoration is one of the biggest problems and mistakes since the 17th
century. Patina becomes a material that maintains the relationship between the artist and time to the present and
preserves the image integrity of the work. In this case, it is necessary to carefully consider, decide and restore the
material to prevent the material of the work in front of the image.

PATINA
Paintings are among the oldest manifestations of human culture. The protection of this heritage has
long attracted the attention of mankind. The most important and most common process is surface
cleaning. The cleaning process involves removing the accumulated dirt from the paint surface and
cleaning the varnish applied to protect the paint layer. Aesthetic mediation during cleaning is no
longer a fundamental issue of the attitude or dogma, even though we are more technologically
advanced, and the value given in the past is now worthless. During this critical application, the most
discussed and incorrectly applied procedure is the intervention to the patina.

The term Patina is confused with the dirt formed on the painted surface of the work from past to
present. Contrary to this belief, the patina encompasses all aging, yellowing, fading and wear that
occur on the surface of the work overtime. The patina on the surface of the work allows us to establish
and comprehend the artist-time relationship of the work. This is the identity of the work. Although the
positive effects of patina on artwork have been mentioned many times throughout the history of art, it
is still a controversial concept today.1
The work gains the value gained in the sense of carrying the identity of the past to the future thanks to
patina. Patina has the importance of determining the limit of the interventions to be done in
restoration. Although it is the first principle of restoration that only material can be restored, the
material should be evaluated with its current state and with all its aging. The fact that the paints appear
vividly on the same day as a picture is made puts the material in front of the image. This is one of the
biggest mistakes made in painting restoration.2
Historically, the patina is a distortion of the work overtime, and after a while, it merges with the
material. However, it becomes part of the work and forms the integrity of the meaning of the image.
Wiping patina, which has an important and critical role in terms of integrity, can be called fraud.
Patina's other important role in the work of art is that it creates depth and this later depth can fully
protect the image integrity of the work and increase its value, but if the patina is subsequently applied
artificially, it must be removed from the surface. Because the artist may have foreseen the formation of
the patina in his painting and used the material according to it, or in the same way the artist could use
the material according to him by wanting the work to appear bright and vivid.3

1
Kaptan, 2009: p.32
2
Kaptan, 2009: p.33
3
Kaptan, 2009: p.33
Patina Discussions and Their Reflections

In the 17th century, Baldunicci defined the concept of patina as the general darkening of the painters,
which is also said by the painters, created by time in paintings, often beautifying the picture”. After
this definition, the patina was evaluated with positive effects. Bright and clean works have become
worthless and therefore false patina applications have begun. Although these applications will have
negative consequences later, they are important for the restoration history.

In the 18th century, the ongoing over-cleaning and the subsequent application of fake patina is still
popular and continues from the 20th century to the present.
In the 20th century, the cleaning of the paintings carried out by Otto Vermehren in the Uffizi galleries
created polemics due to the lack of patina, and therefore a control commission was established. This
shows us that fake patina applications are still being adopted, and it is clear that this kind of polemic
continues to take the courage of this practice.4
In 1963, Cesare Brandi's Teoria del Restauro, which is the basis of the theory of restoration, was
adopted by all professional restorers as a basis. defending the concept of preserving the relationship
between colors, which requires mastery, has ensured that it has survived to the present day. Pietro
Edwards, Cesare Brandi, Umberto Baldini, and Paul Phillipot have emphasized the concept of surface
cleanliness and patina. Today, however, the debate continues but instead of defenses, the concept of
patina has lost its importance and has become worthless.5
If we look at the current restoration examples (figs. 1-12), it is necessary to carry out restoration
procedures, such as the deletion of the Latin scripts and the disappearance of the eyes, creating an
unusual contrast in the work and erasing some glazes, but the restoration procedures that were used in
the past and integrated with the work. it is obvious that even the work is not given importance.

4
Martini, Kaptan: p.23
5
Martini, Kaptan: p.24
Figs. 1-2 “The Virgin and Child with St. Anne”
Leonardo da Vinci - 1510
Restorated in 2011
(Louvre ©wikipedia)

Figs. 3-4 “Portrait” Emma Gaggiotti – 1860~

Restorated in 2019
(Baumgartner Restoration)
 Figs. 5-6 Santa Bárbara. Unknown Artist, 19thcentury.
Santa Barbara Chapel
(fajardoecalgam.com.br)

Figs. 7-8 Details of Sistine Chapel, Michalengelo 1508-1512.

Restorated in 1981- 1999
(© wikipedia)
Figs. 9-10 Details of Sistine Chapel, Michalengelo 1508-1512.
Restorated in 1981- 1999
(© wikipedia)

Figs. 11-12 Details of Sistine Chapel, Michalengelo 1508-1512.

Restorated in references 1981- 1999
(© wikipedia)
References

GRITT, S. (2012) The Removal of Patina New Insights into the Cleaning of Paintings - Smithsonian
Institution Number 3, p.1
KAPTAN, C. (2009) Painting Restoration - Errors and Suggestions, Published Thesis (proficiency in
art), Istanbul
KURZ, O. (1962) Varnishes, Tinted Varnishes, and Patina. The Burlington Magazine 104, pp.56–59
MARTINI, L. (2008), Storia e Teoria del Restauro delle Opere d’Arte, (Translated from Italian to
Turkish: Cemile Kaptan Bazyar), Felici Editore Srl
http://www.dailyartmagazine.com/worst-artworks-restorations/ ,13/04/2018