Rediscovering Wax-resin lining with Michel van De laar
In his Amsterdam private studio, the renowned paintings conservator and one of the experts in the “Het geheim van de Meester,” Michel van de Laar, recently shared the secrets of the almost lost art of wax-resin lining in a 2-day workshop. The workshop's focal point was the restoration of Portrait of a Noble Lady (1762, Tethart Haag (1737-1812), a generous gift to Michel for study purposes. This female portrait, part of a pendant set, arrived with a thick, yellowed varnish and significant holes, never having undergone a lining treatment.
The lining process, central to the workshop, aimed to enhance the painting's physical integrity, flatten and consolidate the paint layer, and render the artwork hydrophobic to protect it from further degradation. Though a method no longer in contemporary use, wax-resin lining was once widely practiced, resulting in a substantial number of lined paintings now in need of specialized conservation.
Other than the demonstration, the workshop also provided us with a rare opportunity to explore a bygone era of art restoration. Through hands-on experience, we closely observed and comprehended the lining procedure, gaining insights into its characteristics and consequences. The workshop, a glimpse into a forgotten technique, prompted a critical re-evaluation of the impacts of this lining method.
In essence, the workshop with Michel not only preserved a piece of traditional art restoration history but also equipped us, the next generation of conservators with a deeper understanding of the complexities involved in treating wax-resin lined paintings.
Progress summary of the wax-resin lining technique, starting from the state of Portrait of a Noble Lady before lining, and ending with a comparison between the unlined pendant and the lined painting.
