This paper will present an analytical description of Bacchus and Ariadne, an oil on canvas painting created from 1520-3 by Italian painter Titian as a commission for Alfonso d’Este, Duke of Ferrara in the High Renaissance period. The work is part of a series by Bellini, Titian and Dosso Dossi to be placed in the Camerino d’Alabastro within the Ducal Palace alongside other paintings derived from classical texts. Since an 1826 acquisition it has resided within The National Gallery, London. Titian also produced three other works in this series; the Prado’s pair, Bacchanal of the Andrians and The Worship of Venus, which are currently held in the Museo del Prado, Madrid. At 176.5 x 191 cm Bacchus and Ariadne is a great artwork composed of many elements
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Retaining the original vivid colours as used by Titian is a main priority in the restoration of this piece but critics are not in agreement with restorers as to how far restoration should go. The painting is thought to have been rolled the paint in rather than paint out as it was moved from Ferrara to Rome in 1598 explaining vertical cracking in the paint. Looking closely at the painting cracking is visible, notably on the right hand side and near the edges. At the beginning of the nineteenth century the work was cleaned with an old-style varnish that before long had darkened the work with a yellow tone, leading to a further cleaning in the mid-nineteenth century. The most important and discussed restoration is in 1967, many of the art industry were actively against the proposed restoration by the National Gallery, there was contention because the other artworks in the series were not going to be restored leading to this artwork looking very different. Decisively, the artwork had to be restored because the physical structure was weak and irreversible deterioration was possible. The varnish was carefully removed and prior overprinting and residue removed. Varnish then re-applied and a thermo adhesive lining attached that could attach to the original paint, and was then
Retaining the original vivid colours as used by Titian is a main priority in the restoration of this piece but critics are not in agreement with restorers as to how far restoration should go. The painting is thought to have been rolled the paint in rather than paint out as it was moved from Ferrara to Rome in 1598 explaining vertical cracking in the paint. Looking closely at the painting cracking is visible, notably on the right hand side and near the edges. At the beginning of the nineteenth century the work was cleaned with an old-style varnish that before long had darkened the work with a yellow tone, leading to a further cleaning in the mid-nineteenth century. The most important and discussed restoration is in 1967, many of the art industry were actively against the proposed restoration by the National Gallery, there was contention because the other artworks in the series were not going to be restored leading to this artwork looking very different. Decisively, the artwork had to be restored because the physical structure was weak and irreversible deterioration was possible. The varnish was carefully removed and prior overprinting and residue removed. Varnish then re-applied and a thermo adhesive lining attached that could attach to the original paint, and was then