"Forget the name of the thing at which we are looking " - Claude Monet (1840 – 1926))

Well, it looks like, once more back to the restoration lab for Rembrandt

In the background we see the massive ancient stone walls that defend the Principality of Monaco on the French Riviera. In the middle distance, the red banner hanging in front of the cut-stone gateway announces an exhibition of Rembrandt's paintings. In the foreground four navvies are hauling his 'Blinding of Samson' *over a moat.

The curator, garbed in the classical manner, looks on horrified while the hauliers attempt to circumnavigate the mooring bollards along the boardwalk. They realise that they are loosing control of the large canvas weighed down, in addition, by its massive gilt frame. They are unable to raise it sufficiently and one of the sharp pointed wooden posts rips through and penetrates the taut canvas to reappear through the painted surface of Rembrandt's masterpiece. So, it looks like it's, once more, back to the restoration lab for Rembrandt.

The Marriage Feast at Cana by Veronese inspired, Matthew Moss, with his background as a paintings conservator with the National Gallery of Ireland to create this 'Adventures of Rembrandt' painting. The massive 6.66×9.90 meter Venetian Mannerist canvas, Napoléon's war booty from his Italian campaign of 1797 was severely damaged, in July, 1992. While being rehung at the Louvre museum after a $1 million restoration and conservation makeover museum technicians trying to hang Veronese's masterpiece lost control of the enormous painting. The curators could not prevent it falling onto the points of the scaffolding framework's metal bars, five of which punched holes through the canvas. The painting had, shortly before, been relined and restored. Hence Matthew's caption to his own interpretation to the event of, once more back to the restoration lab.
*Frankfurt Städelsches Kunstinstitut

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