dinsdag 13 augustus 2013




It looks like a bad over paint job, him being to dark, but confusingly it is dated 1920.

[Ugly, sickening, fake beige and pink over paint. The brown spots are the authentic skin layer. The whites pass this off as the authentic work, praising the white layers. It’s just disgusting.]

Many whites in the arts world religiously believe that the paint on Old Masters had darkened, which occasioned the paintings to be restored. It’s true that paint can darken if the oil leeches out, or if the oil darkens. Yet you cannot ask art lovers  what the procedure really was. In literature it is claimed the early restorers did not keep a record of what they did to the paintings. A person might assume they added some chemical to stop the darkening or something. But they did not. They just whitened the hell out of these portraits with beige and pink paint, imitating the hand of the original painter. But not always, it was often done in a crude way. Sometimes even the family took to painting overnight to save money, but pressed with a deadline and plastered on a sold pink or beige face. In the Mauritshuis I saw a painting with beige paint spilled on the hair. As if the face was covered with cut out paper to protect the hair, but the paint still spilled on the hair at the edges of this protective shielding paper.  Next we know from literature that such and such a person was brown, swarthy, more brown then white etc. And we have engravings taken from the painted portraits as they were produced to make cheap copies. Painted copies were also made, were expensive, and took forever to be delivered, and those are also duly whitened after 1848. So a rational person might already deduce from what is said and written, and can be seen on the portraits, is that they were over painted with beige, with the underlying brown and black layers still highly visible. The dispute is if the paint really darkened, and if so perhaps overnight as the engravings also show the dark complexions.  That is not feasible to the rational mind. And finally while over painting the contours were not altered, so we still can see about 10% of the elite having classical African facial traits and frizzled hair. We know these go together with brown or black skin.


De Staalmeester or The Syndics of the Clothesmakers Guild (1662) by Rembrandt before and after restoration. Photo from 1880 by A. Braun showing what was claimed to be darkened paint. Yet soem Staalmeester also have strong classical African facial traits, like Joachim de Neve, second from right, and these facial traits often go togethet with dark skin, and frizzled hair.

Pastellist Liotard,  a crudely whitened self-portrait. the hair is also lightened.

A member of the van Aerssen family, whitened after 1934.

The effect of whitening an image demonstrated.

Detail of Regentessen van het Oudemannenhuis by Frans Hals, whitened. Because all the regentessen look classically African, like the staalmeesters: the idea arose that all of the elite might have had brown and black complexions, with some also classical African in looks.
Bulckesteyn, Slot Zuylen.
This portrait made me think that the people were under some pressure to have all the portrauts whitened, and in some cases the family itself took to painting overnight, resulting in disasters like this one. There are many more like this. The face is a solid beige or pink mass, while the harnass still loks professional. In 'The Nobleman' by Isabelle de Charriere, Julie, the wayward heroine throws out the family portraits

An X-ray like this shows double paint layers in the face, indicating over painting to make the person white. This is what they called 'restorations' because the paint had 'darkened.' They falsified history, painting their brown and black masters out of history


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