
Associate Conservator Kari Rayner uses illumination and low magnification to examine Virgin and Child with Saint Elizabeth and Saint John the Baptist. Digital image courtesy of Sarah Waldorf
According to researchers, most visitors spend less than 30 seconds on average looking at an artwork while visiting a museum. In contrast, conservators, whose work involves understanding how artworks were made, can spend hundreds of hours looking closely. In addition to examination with our eyes, painting conservators also use different imaging technologies to see the interior structure of paintings and peer below the paint layers. We recently used several techniques to examine Agnolo Bronzino’s Virgin and Child with Saint Elizabeth and Saint John the Baptist, which was acquired by the Getty in 2019. This close looking can inform conservation measures taken to ensure the painting’s preservation and also provide new insights into the artist’s practice.

Virgin and Child with Saint Elizabeth and Saint John the Baptist, 1540–1545, Agnolo Bronzino. Oil on panel, 40 7/16 × 32 13/16 in. The J. Paul Getty Museum, 2019.116. Digital image courtesy of Getty’s Open Content Program
Close looking with the naked eye is a critical first step in the examination of a painting. Paintings conservators often spend hours looking at a picture, often with low magnification, in order to assess the painting’s condition and how it was constructed. We carefully examine the texture and color of the paint. We look for information about how the paint was applied (whether with a brush or another tool), how the paint was built up or layered, and whether it was allowed to dry between layers or blended together while still wet. Taken together, these subtle clues provide a better understanding of the artwork, which is the basis for contextualizing any further study.
Using a microscope to enhance visual observations is an important part of the process. For example, in Bronzino’s Virgin and Child, a red paint layer becomes visible underneath parts of the Virgin Mary’s blue robe. This may show that the artist was following an established painting practice in Italy: layering red or pink paint under blue was a method sometimes used by Italian painters to add a subtle warmth.

Microscopic detail image showing an underlayer of red paint visible through the cracks in the blue uppermost paint layer
Looking at the back of Virgin and Child, we see that the work is painted on a wooden panel. While it may appear at a quick glance to be made from a single piece of wood, digitally X-raying the painting shows that the work is painted on three wooden boards joined vertically. Three original rectangular dowels along each join secure the boards to one another internally, and two horizontal crossbars span the back of the panel.

The back of the panel support. Digital image courtesy of Getty’s Open Content Program

The digital X-radiograph of the painting with color-coded annotations corresponding to different parts of the panel’s construction. The red lines delineate the panel joins, the green lines illustrate the horizontal crossbars, and the blue lines mark the location of the internal dowels
The X-radiograph shows that there is fibrous material between the wood of the panel and the priming layer, which is a gesso layer that was applied to prepare the panel for painting. As seen in the detail below, this material appears in the X-radiograph as fine dark lines. It is likely animal hair or a vegetable matter called “stoppa” that would have been applied to the panel to help bridge joins and defects in the wood. This material reinforces the panel and adds stability to the support. The construction appears to be quite common for 16th-century Italian panels and likely would have been done by a specialist who prepared the panel according to the artist’s specifications.

Detail of the X-radiograph. The fine, dark lines that criss-cross the vertical wood grain likely correspond to a fibrous material applied to reinforce the panel support
Another imaging technique called infrared reflectography looks beneath the visible layers of paint and detects materials that absorb infrared radiation. This technique reveals that Virgin and Child contains extensive preparatory drawing underneath the paint layers. This underdrawing was mostly carried out with a dry medium, such as graphite or black chalk, and is consistent with what we know of Bronzino’s artistic practice. It reveals intricate details such as individual curls of hair and fingernails.

Detail of the digital infrared reflectogram revealing the preparatory underdrawing for St. John the Baptist

Digital tracing created by the author using Adobe Photoshop overlaying different stages of the painting’s composition. The red lines show the composition in the preparatory underdrawing stage, and the blue lines reflect the final painted composition. The most significant change relates to the positioning of the Christ Child’s left leg.
The X-radiography and infrared reflectography also tell us something new about this painting. Bronzino revised and refined the composition as he worked. Most significantly, he changed the positioning of the Christ Child’s left leg. Initially, he painted Christ’s foot and calf in front of the book held by the Virgin, while in the final version of the painting, the book obscures the lower leg from view. This particular detail is meaningful because it represents a departure from the composition in a related painting by Bronzino in the collection of the National Gallery, London. This alteration, among other compositional changes, suggests that the painting in the National Gallery is the first version Bronzino made. Although he initially repeated the composition in the Getty’s painting, the artist then modified it.
Other types of analysis are in progress and will provide an even greater level of detail about materials Bronzino used, such as information about specific pigments. While gathering this data, we will return to looking closely at the painting again and again to consider how this new information contributes to our understanding of the artwork.

Carrying out a macro X-ray fluorescence (XRF) scan of the painting. This analytical technique will provide more information about the materials the artist used
So next time you view a painting, look closely. What can you discover?
Great resource for Art Appreciation or Humanities Courses…
Thank You!
This is so interesting. It has always amazed me that paintings of these early periods still, when seen in person, present such vibrancy of color!
This is so great and very interesting.
Thank you fo much!
Thank you very much!
As i am a painting conservator for me this post always interesting subject and I wanted to learn more about this topic thank you for sharing this post
I found this article very interesting. I am a retired materials scientist who worked with neutron and X-ray diffraction so the use of radiation for imaging is interesting to me, as is the use of x-ray fluorescence. I also have a strong interest in art history and am spending part of my retirement reading it. Question: do you consider the changing of color over time that occurs with the use of some paint pigments? After reading Philip Ball’s book, Bright Earth, I wondered if painting labels in museums shouldn’t include remarks about changing colors in parts of the paintings, as this is rather well understood now. Congratulations on your work.
I’m so glad to hear you found the article interesting and that it sits at the intersection of your intellectual pursuits and professional background! I also enjoyed reading Bright Earth and appreciate your question. In paintings conservation, color changes in paintings via alteration or degradation of pigments is something that we commonly consider and investigate using different visual and analytical methods, including some of the techniques described in this post. We have not found any indications of significant alterations in this particular painting. More drastic color changes in paintings are occasionally mentioned in museum labels and have been highlighted in some exhibitions in recent years, such as the 2015 “Van Gogh: Irises and Roses” exhibition at the Metropolitan Museum of Art, New York.
Fascinating. Is this painting on display currently or will it be only viewable after the Covid-19 closure ends?
Thank you for your compliment on the post and for your question. The work is not currently on display, since study of the painting is ongoing, but it may be viewable after the Getty reopens to the public.
I loved reading the analysis of this painting. Most interesting. Thank you.
Nice blogpost! Yet:
Taken apart from “other compositional changes” not here described, the cited compositional change could just as likely indicate the National Gallery painting *followed* the Getty’s painting where Bronzino worked out and refined his composition.
I’m glad you enjoyed the post, and I appreciate you bringing up this point. Although it wasn’t possible to include more information given the scope of this post, imaging of the National Gallery’s painting shows more extensive compositional changes that additionally appear to relate to a preparatory drawing. This suggests a sequence of revision and provides further evidence that the work in the National Gallery is the first painted version of the composition, followed by the Getty’s painting. We hope to explore this in greater detail in a future publication.
Que fantástica descripción. Totalmente asombrada
Thank you for this interesting article!