The Latour d’Auvergne Triptych, also called the Annunciation with Saints and Donors is a three part, wood panel that depicts the Annunciation of the Angel Gabriel to Mary that she is to be the mother of Christ as described in the Gospel of Luke. As a foldable triptych, the art has remained amazingly well preserved without any conservation efforts, however, additional scanning and research had exposed some interesting changes and edits made to the image that are otherwise invisible to the naked eye. These differences and more detailed analysis give insight to similar works of the time as well as the artists own abilities and changes in portrayal over the course of the development of the piece. The work consists of three separate parts, a center
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Their name was likely somewhat familiar at the time to have been called in for a commission by such high standing figures in society like the count and countess. The artist was clearly familiar with the art and architecture of the Italian Renaissance, but also had clearly witnessed the landscapes and nature of Latour, France. This creates the possibility for the artists to have been an Italian painter that came to France, possibly as a result of the invasion, or a French artist influenced heavily by the newer Renaissance stylistic ideals. Regardless, the painting aligns itself well with other art of the time and would have been very much on trend at the time of its completion and for several years after.
In an effort to conserve the triptych, several images of the piece have been taken. Many of these consist of infrared radiographs taken at various stages and frequencies. The different bands of IR used penetrate different layers of the painting to reveal layers of drawings, paint and panel features that are otherwise invisible or covered by additional layers of paint. Certain compounds react differently within the IR spectrum and become seemingly transparent or strongly reflect back creating changes in the final image produced. These differences can point out changes in drawing, coloring or the erasing of
Their name was likely somewhat familiar at the time to have been called in for a commission by such high standing figures in society like the count and countess. The artist was clearly familiar with the art and architecture of the Italian Renaissance, but also had clearly witnessed the landscapes and nature of Latour, France. This creates the possibility for the artists to have been an Italian painter that came to France, possibly as a result of the invasion, or a French artist influenced heavily by the newer Renaissance stylistic ideals. Regardless, the painting aligns itself well with other art of the time and would have been very much on trend at the time of its completion and for several years after.
In an effort to conserve the triptych, several images of the piece have been taken. Many of these consist of infrared radiographs taken at various stages and frequencies. The different bands of IR used penetrate different layers of the painting to reveal layers of drawings, paint and panel features that are otherwise invisible or covered by additional layers of paint. Certain compounds react differently within the IR spectrum and become seemingly transparent or strongly reflect back creating changes in the final image produced. These differences can point out changes in drawing, coloring or the erasing of