{"id":7637,"date":"2025-03-14T14:51:00","date_gmt":"2025-03-14T12:51:00","guid":{"rendered":"https:\/\/www.salvador-dali.org\/obra\/conservacio-i-restauracio\/intervencions-en-obres-pictoriques\/"},"modified":"2025-07-03T14:52:54","modified_gmt":"2025-07-03T12:52:54","slug":"interventions-on-paintings","status":"publish","type":"page","link":"https:\/\/www.salvador-dali.org\/en\/artwork\/conservation-and-restoration\/interventions-on-paintings\/","title":{"rendered":"Interventions on paintings"},"content":{"rendered":"\n
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Table in Front of the Sea: Homage to Eric Satie<\/em> is an early-period work painted in 1926, measuring 149.5 x 90 cm. As with other paintings from this period, Dal\u00ed applied the oil paint directly onto the canvas, leaving the industrial preparation on the back. This procedure highlights the texture of the canvas, allowing him to play with the colour of the textile medium in the ochre zones.<\/p>\n<\/div>\n<\/div>\n\n\n

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Restaurar una obra restaurada<\/h2>\n

he work had been stored in the Foundation\u2019s reserves and had a large tear dating from years before at the top centre of the canvas, next to the head of the depicted figure. In a much earlier restoration, the tear had been repaired by applying a piece of canvas to the back, but the results were lacklustre: the piece had come unstuck and was causing deformations in the canvas. Furthermore, strips had been placed along the perimeter of the work to reinforce the sides of the painting and tension them onto the frame. Bits of adhesive and paper were stuck to the edges of the painting, probably from self-adhesive paper used in the framing process, and all four corners of the canvas had come loose and were fraying. There was also the odd small patch showing losses in the pictorial layer on the figure\u2019s face and red leg.<\/p>\n

Following an examination of the work under various types of light, the conservation and restoration process started with an overall surface cleaning and removal of the semi-unglued bit of canvas. The deformations in the zone of the patch were then flattened out using controlled weight and moisture, and all the loose textile fibres around the tear were re-attached one by one, using a suitable glue, to strengthen them.<\/p>\n

The edges of the painting were reinforced and cleaned, removing the remains of paper and glue. Finally, the small losses in the pictorial layer, both in the zone of the tear and at the edges, were filled and chromatically reintegrated to restore the work\u2019s aesthetic unity.<\/p>\n <\/div>\n\n <\/div>\n \n\n \n \n

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During the chromatic retouching process of small paint losses<\/figcaption>\n <\/figure>\n <\/div>\n\n \n \n
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<em>Table in Front of the Sea. Homage to Erik Satie<\/em> The tear was very visible due to its location next to the character\u2019s head, 1926 \u00a9 Salvador Dal\u00ed, Gala-Salvador Dal\u00ed Foundation, Figueres, 2025<\/figcaption>\n <\/figure>\n <\/div>\n\n \n \n
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<em>Table in Front of the Sea. Homage to Erik Satie<\/em>, 1926 \u00a9 Salvador Dal\u00ed, Gala-Salvador Dal\u00ed Foundation, Figueres, 2025<\/figcaption>\n <\/figure>\n <\/div>\n\n \n \n
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<em>Table in Front of the Sea. Homage to Erik Satie<\/em> (Paint alteration caused by a tear in the canvas, before restoration), 1926 \u00a9 Salvador Dal\u00ed, Gala-Salvador Dal\u00ed Foundation, Figueres, 2025<\/figcaption>\n <\/figure>\n <\/div>\n\n \n \n
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<em>Table in Front of the Sea. Homage to Erik Satie<\/em> (After restoration, the tear is consolidated and aesthetically reintegrated), 1926 \u00a9 Salvador Dal\u00ed, Gala-Salvador Dal\u00ed Foundation, Figueres, 2025<\/figcaption>\n <\/figure>\n <\/div>\n\n <\/div>\n \n
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