Study of the Prado Museum's copy of La Gioconda
- The altarpiece of Saint Dominic of Silos by Bartolomé Bermejo
- The evolution of preparations for painting on canvas in sixteenth and seventeeth century Spain
- Study of the Prado Museum's copy of La Gioconda
- Technical and restoration study on the collection of Miniatures in the Museo del Prado
- The Wine of Saint Martin’s Day. Pieter Bruegel the Elder
The study of this work began two years ago on the request of the Louvre within the context of the research undertaken in relation to the exhibition 'L’ultime chef-d’œuvre de Léonard de Vinci, la Sainte Anne'. The extremely interesting results obtained from the comparison of the infra-red reflectograph of the Prado’s panel with the one of the original painting led to the decision to undertake a more detailed study of the Prado’s painting and subsequently to restore it. The technical study undertaken was the habitual one carried out at the Museum and included infra-red reflectographs, x-ray, ultra-violent induced visible fluorescence and examination under a binocular magnifier. The aim of this study was to learn how the work was painted and to determine its state of preservation. After the above-mentioned documents (x-ray, infra-red etc) were analysed, laboratory tests were requested in order to resolve any doubts about the nature of the materials of which the work was made as well as the varnishes and the nature of any repainting.