Botticelli’s Virgin and Child: Infrared and Ultraviolet Light Imaging

During the recent cleaning and restoration of Sandro Botticelli’s Virgin and Child with an Angel, our conservation team used a specially modified camera capable of recording infrared (IR) and ultra violet (UV) images to reveal changes the artist made to the composition as he painted the image and the extent of previous restorations on the painting’s surface. The examination and imaging of paintings in the IR and UV light wavelengths enables conservators to detect artist’s techniques and condition issues that are otherwise not visible in visible light (i.e. what the human eye can see).

Botticelli painted the picture on a wood panel support that was first prepared with a smooth layer of gesso. For the most part, the Italian Renaissance artist used an egg tempera technique, although in the darker, transparent glazes, he also appears to have employed pigments bound in a drying oil medium. Over much of the composition, the paint layers were applied in a remarkably thin manner. In a few places, this allows one to see the preparatory under drawing with the naked eye, most notably in the Virgin’s red dress, the Child’s arm and in the sky to the right of the Angel’s head.

Imaging of the painting in the near infrared region of the light spectrum enables conservators to record what lies beneath the visible paint surface and is especially useful for detecting carbon-based under-drawing lines. The most dramatic change made by the artist during painting can be seen to the right of the Angel’s head where the initial sketch of his curled hair is evident. Other changes include fold lines in the Virgin’s proper left arm and the contour of her shoulder at the right edge. These revisions to the composition indicate that Botticelli did not slavishly adhere to the original conception, but rather was free to shift the contours of the figures to attain a more fully developed image.

Illuminating the painting with ultraviolet light reveals a different set of condition features. Ultraviolet light is also invisible to the human eye but its interaction with certain materials causes the painting’s surface to emit visible light. In contrast, materials that absorb ultraviolet light will appear dark. In the ultraviolet induced visible fluorescence image of the painting, the old varnish present on the surface fluoresces a yellow-green color, indicating that it has degraded over time. More notable are the old restorations which appear as dark brush strokes and dabs where previous conservators covered areas of abrasion and paint loss.

Infrared and ultraviolet light imaging is a particularly important tool as it helps the conservator understand the condition of the paint layers and the extent of retouching that will be needed to restore the image. Removal of the yellowed varnish and old restorations dating from the 1970s revealed a painting that has isolated losses and abrasions, but is otherwise well preserved.

After applying an isolating layer of a reversible, non-yellowing varnish, the losses were retouched with pigments in a stable resin to reunify the image.

On your next visit to the Museum, stop by the Long Gallery to see the newly restored 15th century painting.

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