The Armorer 's Shop By David Teniers

1357 Words6 Pages
Conservation Study
While there were several works of art that I had liked, the artwork and album finally chosen from Noelle Ocon’s album for this particular study was The Armorer’s Shop by David Teniers the Younger and Jan Brueghel the Younger. The goals for the study of this painting were to delve into topics such as subject matter, spectrum bands used to reveal information about the painting, and conservation efforts in general. As such, this study will start with the subject matter and style of presentation.
The Armorer’s Shop’s medium and materials are oil paints applied to connected wood panels. The artwork was painted circa 1640-1645 (“The Armorer’s Shop.”), and depicts an armorer’s shop as the title suggests. To go further into
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Interestingly, outside of The Armorer’s Shop, there is virtually no evidence that Brueghel and Teniers ever collaborated with each other (Woll.)
As seen in the visible light photographs, the painting was flaking in some areas. The key issue here, however, is not necessarily the flaking paint. Instead, it is the fact there were also two barely noticeable lines that were particularly noticeable from the back of the painting. At the time of these first few pictures, The Armorer’s Shop had been strictly attributed to Teniers the Younger, with no mention of Brueghel (Huskinson).
The painting was first analyzed using visible light, which can only show some surface details through techniques like grazing. However, a couple of other bands of the spectrum that can be used to obtain information about the painting in question are infrared, in the form of infrared reflectography, and x-ray. These were both utilized in this case to analyze The Armorer’s Shop. Infrared can be used to see through the paint layers to the underdrawing and also to detect details in the painting that may have changed color since being painted (“Infrared (IR) Light.”). X-ray can be used to see through the entire painting to detect its base and find possible weaknesses or damages to the painting’s

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