Attracted by the visual arts at a very young age, a loyal viewer of documentaries on antiques and art in general, Emmanuelle David began studying applied arts, without completing them. “I quickly understood that it wasn’t made for me,” smiles the young painting restorer. “My main teacher guided me well, suggesting that I study to be a restaurateur,” she continues.
Advice immediately followed and never regretted. It was at the Condé school, in Lyon and Paris, that the artist studied the profession and obtained his master’s degree. “The studies are fascinating because they are very varied. We learn the history of the arts, but we also do science to know all the materials used in the creation of a painting and we practice copying works, which I particularly liked,” says Emmanuelle David with enthusiasm.
Varied clientele
With her diploma in hand, she chose to return to her native region and set up a workshop. It was first in Beaumont-du-Périgord (Dordogne), then in a first premises in Castillonnès, and, finally, in a second, located on Grand-rue, which it currently occupies. “This one is finally big enough, which allows me to restore large paintings there,” she rejoices, showing the two immense paintings on which she is working. What fascinates her about her art is that it is a jack-of-all-trades profession: “It’s very complete! We work on the supports, the canvas, the paint, the varnishes,” she lists.
Its clientele is varied. The restorer receives classified works from religious and administrative buildings, museums, private collectors, art dealers or second-hand dealers. Whatever the client or the painting, the approach is always the same. It begins with careful observation to take stock of the materials constituting the work (canvas, stretcher, primer, paint, pigments, varnish, etc.) and list the damage suffered.
This first step is generally done by eye and with a magnifying glass, but Emmanuelle David can use different lamps (ultraviolet, infrared) or, in rare cases, have x-rays or laboratory analyzes carried out. This observation makes it possible to note the various alterations: tension of the canvas, tears, mold, condition of the paints, varnish and old retouching.
“The oldest paintings, early 19th century or before, are the most comfortable to restore”
She then studies the means she will use to restore new shine to the entrusted painting. Following the ethics established for the profession in the 1970s, she will only use authorized products which ensure that she will never leave an irreversible mark. She will never use, for example, oil paint or glues which would prevent a new restoration later.
For retouching, the restorer will most often use a pointillist technique or close-up fine lines: “From a distance, we have the impression that everything is original. Up close, you can see the work done,” explains Emmanuelle David. If we ask her about her preference for a style or an era, although she has a personal taste for the impressionists, she does not express a predilection for the work: “The oldest paintings, early 19th centurye century or earlier, are the most comfortable to restore, because the canvas is called “cooked”; she is stable. Newer tables are more responsive when cleaned. » Whatever her age or condition, Emmanuelle David ultimately loves all paintings.
Saint-Hypolite, almost resurrected
In 2021, the municipality of Fumel decided to restore a painting by the painter A. Taran, dated 1904, of very large size (292 cm x 190 cm), placed in the center of an architectural altarpiece from the 18th century.e century in polychrome wood, altarpiece also restored. Having become very dark, “The Martyr of Saint-Hippolyte” was difficult to read, characters had completely disappeared due to the blackening of the varnish. The painting had suffered from candle smoke, wax drips and various stains; the varnish had thus taken on a brown color.
At the request of the municipality of Fumel, Emmanuelle David restored “The Martyr of Saint-Hippolyte”, a work by the painter A. Taran.
M. D.
In addition, cracks and implementation defects were noted. For example, the last coat of paint was wrinkled because it had less oil than the layers below. Finally, the varnish was poorly spread, sometimes with excess thickness. The restorer dusted the canvas, then removed the paint, removed the canvas, then treated it with fungicide and re-tensioned it, before lightening the varnish. In February, “The Martyr of Saint-Hippolyte” will return to its place after having regained its splendor.
