Project

Conserving a rare Tintoretto

The Wise and Foolish Virgins, a painting by Tintoretto at Upton House — The Wise and Foolish Virgins by Tintoretto at Upton House | © National Trust Images/Angelo Hornak

Paintings by the 16th-century Venetian artist Jacopo Tintoretto are extremely rare in the art collections of historic houses. The Parable of the Wise and Foolish Virgins is due to go back on display in a few weeks time at Upton House after extensive conservation work. The project has revealed new information about Tintoretto’s original vision for the painting and left us with some intriguing questions.

The Tintoretto comes to Upton

Bought by Upton’s former owner Lord Bearsted in 1939, The Parable of the Wise and Foolish Virgins took pride of place at Upton as one of the focal points of the recently created picture gallery.

Lord Bearsted knew the picture to be of great significance and was no doubt influenced by picture dealer and restorer, Horace Buttery, who wrote to him before he bought the Tintoretto, saying: ‘Sir Kenneth Clark and other experts on Venetian painting have all been enthusiastic about this picture – a recent discovery of mine – as an important unrecorded early period work. The picture is beautiful in colour – rose-pink, grey and gold – and the subject is amusingly treated’.

Who was Tintoretto?

Tintoretto’s family name was actually Robusti and he was raised surrounded by sumptuous colour. His father was a dyer, or tintore, and it’s from this that he took the name Tintoretto, or ‘little dyer’.

Tintoretto ranks second only to Titian among the Venetian painters of his time and had a prolific and successful career. Whereas most of Titian's later paintings were commissioned for foreign patrons, Tintoretto worked mainly for Venetian clients and was the dominant figure in supplying religious pictures for the city's churches, government buildings and palaces.

The Parable of the Wise and Foolish Virgins is one of the few examples of his work on display in a historic house.

A new look through conservation

Tintoretto was a gifted storyteller and was famous for painting bold, colourful, and dramatic depictions of biblical events, such as the one on display at Upton. However, the painting’s appearance was spoiled by old restorations and layers of yellowed varnish that made the lively and complex scene feel static and flat.

A new conservation and research project has uncovered what is believed to have been Tintoretto’s original vision for the painting. The analysis provides a better understanding of what is believed to be a work from the early stages of his career.

Curator at Upton House, Michelle Leake, says: “Before the conservation work, many visitors to Upton walked past this wonderful picture without even noticing it. The image had darkened to such an extent that its original liveliness and incredible detail were very difficult to see. This project has transformed the picture and allows it to be viewed in an entirely new light.”

A close up of The Wise and Foolish Virgins by Tintoretto at Upton House | © National Trust Images/Angelo Hornak

Uncovering the painting’s layers

A critical phase of the conservation involved in-depth research and technical analysis to understand the condition of the painting and how it had changed over time. The painting underwent X-ray and infrared imaging to uncover what lay beneath the surface. The findings have helped illuminate Tintoretto’s bold use of colour and the evolution of his composition.

Picture in focus

The painting is due to return in the next few weeks from National Trust’s conservation studio in Knole, Kent. It will take centre stage when it goes back on display in the Sitting Room. Visitors will be able to get up close and see the painting, as well as find out more about the detailed conservation process and findings.

Timeline of the project

Spring 2022

The project begins

Senior National Conservator for Paintings at National Trust Rebecca Hellen gives an idea of some of the illuminating things we can expect to find out during the project:

“Due to trade links across Europe, Asia and the Middle East, the Venetian palette is famous for its quality and variety. During treatment we hope to identify the pigments and paints usedand carry out x-radiography and infra-red reflectography to understand more about how this piece relates to other paintings by Tintoretto and his family workshop.

“Most importantly, we hope that Tintoretto’s dramatic composition will come to life once more and that the work will be returned both well understood and looking absolutely its best.”