Upgrade thanks to restoration
A remarkable painting
A woman hangs the laundry in the garden. The clothesline stretches between the trees, and sunlight filters pleasantly through the foliage. It’s not so much the scene that makes this painting remarkable, but the technique. In this work, Henry Van de Velde experiments with new post‑Impressionist styles and reinvents himself.
The Laundress (1887) - Henry van de Velde
Woman at the Window (1889) - Henry van de Velde
He goes a step beyond the dreamy dots of the Pointillism we know from Woman at the Window. Instead, he applies short, decisive strokes of paint. The effect recalls Vincent van Gogh, who clearly influenced him. The energy of these bold brushstrokes contrasts with the limited colour palette — warm tones placed harmoniously side by side, or in sharp contrast.
Van de Velde mainly uses the palette knife and thin, mixed paint, which he spreads out to create a flat surface. On top of that, he brushes thick strokes of saturated paint straight from the tube. With these heavier touches he adds accents, such as the arms, which immediately draw the viewer’s eye.
Thick paint strokes — on the arms, for instance, or along the rim of a pot — stand out not only because they sit on top of the surface. - Their relief catches the light differently and reflects it in another way than the smoother areas. They truly are eye‑catchers.
Restoration: a necessity
Like many of his contemporaries — the Impressionists — Van de Velde did not varnish his painting. A later owner, however, decided to add a varnish layer, most likely in an attempt to protect the work, although it ultimately had the opposite effect.
Over the years, the varnish had oxidised heavily and become severely discoloured. A pity, because it caused the painting to lose much of its original brilliance. The once fresh, bright colours had dulled and appeared darker. The varnish layer was even so thick that it smothered the painting’s original texture — the very texture that gives the work its strength. Underlayers and raised accents had merged into a single surface. Dirt had also crept beneath the varnish.
Colours that shine as they once did
To make the dulled colours shine again, the KMSKA entrusted the work to the experienced Beatriz Lorente. The first task was to remove the varnish layer. To minimise friction on the paint surface, she used products that dissolved both the varnish and the dirt trapped beneath it. Areas where the paint had degraded were treated with a specially prepared and pre‑tested solution.
Van de Velde had used very early factory-made tube paints — fortunately of excellent quality, as the colours were remarkably well preserved. Only the cadmium yellow and the green had discoloured in places. The yellow of the sunflowers showed dark, brittle crusts, especially on the impasto strokes — the thicker ridges of paint. This is a common issue with this pigment. In Van de Velde’s time, cadmium yellow was extremely popular for its intensity, but it tends to lose some of its character over time. The original emerald green had also turned slightly browner. Yet through tiny cracks in the green, the original bright hue still surfaced — a helpful guide during restoration.
Above all, the cadmium yellow and the emerald green required extra care.
Finishing touches with the utmost care
The canvas itself also showed a few losses. Using silicone moulds, the restorer carefully applied filling material and recreated the texture on the canvas — in varying concentrations, depending on the brushstrokes she needed to imitate.
Out of respect for Van de Velde’s original intention, the painting was not given a new varnish layer. To offer the paint some degree of protection, Beatriz applied a highly diluted resin — extremely subtle, with very little gloss — so the surface still appears unvarnished.
Retouching was kept to an absolute minimum. Characteristic features of the artist, such as scratches and drying cracks, were preserved. Still, a few retouches were necessary to improve the painting’s visual coherence, without making permanent interventions. For these, Beatriz used reversible materials such as watercolour and acrylic, adapted to the aldehyde‑resin layer.
Finally, the wooden frame also received extra protection. A felt tape now lines the inner edge to safeguard the painting’s borders. Small pieces of cork keep the work in the correct position and absorb any minor shocks. Metal brackets covered with felt hold the painting securely in place.
