AIC's 53rd Annual Meeting

Two large, full-length paintings of male figures, each wearing antique garb amid ruined architectural surroundings, have been art historical mysteries for decades, if not longer. These works on canvas, in the collection of the Los Angeles County Museum of Art (LACMA), were made by the famous Venetian master of the cinquecento Paolo Caliari, otherwise known as Veronese, but it is unclear when exactly the artist made them, for what building, and for what patron. Their subjects, while tentatively described as allegories—Allegory of Navigation with a Cross-Staff and Allegory of Navigation with an Astrolabe—are uncertain, and though they have long been hung together, it is unclear if they were initially part of a larger decorative cycle. LACMA deinstalled much of its permanent collection as it prepares for the grand opening of its new Geffen Galleries, presenting an opportunity to both treat and carry out research on these intriguing paintings.

            The paintings were examined closely throughout conservation treatment, which included cleaning, varnishing, and retouching, among other steps. The surface was examined using a stereomicroscope, and high-quality imaging and materials analysis were carried out, including X-radiography, infrared photography, and hand-held XRF. Paint sample cross-sections were examined using PLM and analyzed using SEM-EDX. In addition, a study trip to see related works, two of which have been suggested as being part of a series with LACMA’s works, and the Biblioteca Marciana in Saint Mark’s Square, Venice, which has been long been cited as the possible original location of the works, complemented the technical study. The results of this research provide valuable insight into Veronese’s approach to creating LACMA’s works. The authors will discuss these findings in detail, including the use of certain materials that have become altered over time, affecting our current perception of the works. The study’s results also provide new clues as to the painting’s origins. For instance, research into old paper labels on the paintings’ reverse establishes a new link previously unknown in the painting’s nineteenth century provenance (including a passing connection to the Statue of Liberty in New York!). They also show that Veronese opted for the relatively inexpensive blue pigment smalt, both for use in the skies and in several draperies, and they show that Veronese made few changes in the composition as he worked. These last two findings differ markedly from the artist’s approach in one of the possible pendants, and the authors discuss possible reasons for these differences. 

               While many questions remain, this study makes a small but significant contribution towards refining our understanding of these works. The authors additionally suggest future steps that could be carried out to solve some of the outstanding mysteries surrounding the paintings’ origins.