Written by the Commissioner of the Exhibition, Pilar Silva Maroto. 16. José de la Fuente, María Jesús López (Restorator of Marcos) and Herlinda Cabrero commented on a video the restoration process, available at https://www.museodelprado.es/ACtuality/Multime DAY / RESTORATION-El-Triptico- De-la-adoration-of-the / AA6F23FD-EFFIRTORS- WRITERS OF THE MUSEUM OF THE PRANGE, WHERE THE WORK IS CONSERVED, which have done a prodigious work. The dendrochronology, which studies the dating of the rings of growth of woody tree and shrub plants, is a science that has been applied to oak supports employed by Bosco.17 Thus, it is possible to know the date of logging From the tree from which it is absolutely safe to place the picture in question, regardless of time, sometimes very long, that elapses between the cut and the use of that wood, mediating years of drying and / or storage. Obviously, a shaved tree after the death of the Bosco can not originate an original in any way. Even though this was able to carry out the delight garden after 1466, its execution corresponds to 1490-1500, in the same way as for the extraction of the madness stone, from the same Madrid Museum, the tree was cut into 1486, when the Bosco did not paint the picture until the distant date of 1501-1502. Interesting is the fact that it could be found that the crazy ship, the allegory of the intemperance, death and an avaro and the street vendor, all in different museums (Paris, New Haven, Washington, Rotterdam), are tables coming from the same tree. On the other hand, they do not belong to wood of the same tree, those who carry the representation of San Juan Bautista in meditation, of the Lázaro Galdiano Museum, and San Juan Evangelista in Patmos, from Berlin, who were assumed elements of the same set. If the visible light allows the study of the pictorial layer, the infrared radiation has a greater wavelength and traverses it, revealing the underlying drawing. X-rays pass all strata, even capture the frame. In recent years, museums develop analyzes with these technical resources reaching diagnoses of extraordinary value. The technical documentation cabinet of the Prado Museum has been working intensely in this complex and surprising terrain, 18 and such happens with an artist like the Bosco. Carmen Garrido – Who was head of this area of ​​the meadow – has been working on the work of El Bosco under this perspective since the eighties, alone or in collaboration with Roger Van Schoute, who has studied the underlying drawing from the sixties.

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