Restorers eliminate cosmetic enhancements on 17th-century noblewoman's portrait
Restoration work on a 17th-century portrait uncovers age-old practice of retouching images, proving that airbrushing and beauty filters are not exclusive to modern times
The use of airbrushing and beauty filters may seem like a recent trend, but recent restoration work on a 17th century portrait has shown that image touch-ups are not a new practice. English Heritage, a group overseeing over 400 historic sites in England, found that a portrait from nearly 400 years ago had been modified to enhance the subject's appearance.
The portrait before the added changes were removed by the conservation team
English Heritage
Conservators have now revealed the true face of noblewoman Diana Cecil, after spending hours removing changes to her features.
Cecil (1596-1654) was the descendant of William Cecil, Lord Burghley, one of Elizabeth I's closest friends and advisers. The influential family held great power at the Jacobean court.
The restored version of the portrait will go on display in London from November 30.
Christopher Ison//English Heritage
English Heritage describes Cecil as "one of the most beautiful women of her time," However, the full-length painting has been discovered to have been altered since it was originally painted in the 17th century. Cecil's lips were filled out and her hairline was moved forward, creating the appearance of a smaller forehead.
The conservators discovered that the painting, set to be exhibited at Kenwood House in London on November 30, had suffered "significant damage" from being rolled widthways at some point. English Heritage believes that the changes were made in the late 19th or early 20th century for this reason.
Royal Collection Trust
X-ray analysis shows that this 16th-century portrait has undergone a remarkable restoration, bringing back the original depiction of Cecil with a revitalized hairline and lips, and removing aged layers of yellowing varnish.
This discovery led to another unexpected finding. Behind the curtain, the signature of artist Cornelius Johnson and the date 1634 were revealed, which was four years earlier than the believed painting date of the portrait.
In a press release, Alice Tate-Harte, collections conservator (fine art) at English Heritage, stated, "As a paintings conservator, I am constantly amazed by the vibrant and rich colors that emerge as I remove old, yellowing varnish from portraits. However, discovering that Diana's features had been altered so significantly was truly surprising!"
The original overpainting may have been to conceal damage from the portrait being rolled, but the restorer also injected their own preferences to enhance her face. By removing these additions, I hope to do justice to Diana and present her natural face to the world. The updated portrait will be exhibited alongside a portrayal of Cecils husband, Thomas Bruce, the 1st Earl of Elgin.
