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"Prior to cleaning, he was quite jaundice," Anderson said. "Now beautifully fresh, and you can see the life in his cheeks, the blood beneath his skin instead of just the yellow varnish. He has just emerged transformed by the treatment." The conservation treatment also indirectly extends the life of the paintings, Dunn said. If the varnish isn't removed soon enough, it may never come off. Conservators would reach a point where removing the varnish also would remove the paint. And when the paintings become too discolored, they are rarely shown to the public because they are less attractive. Treatment of Stuart's portrait of Abigail Adams revealed the style of her head gear changed from the time he started the painting in 1800 to its completion in 1815. He started with a much larger bonnet but covered it up and replaced it with a more stylish headdress later. Traces of the original bonnet were revealed beneath the varnish but were covered again with restoration paint as Stuart intended. Abigail Adams grew impatient with Stuart, admonishing him in letters to complete their commissioned paintings. He had apparently moved on to other works and was in high demand. "I just don't know what to make of this Mr. Stuart," she said at one point, Anderson recounted. She persisted, though, to have the paintings completed because the Adams family apparently thought Stuart's skill in capturing the essence of personality was unmatched. Six of the newly restored works will be unveiled to the public in October in a new exhibit, "Masterpieces of American Furniture from the Kaufman Collection," pairing art from the period with furniture. Other Stuart portraits, including his depiction of the first five presidents, already are on display in the permanent collection. A grant from Bank of America funded the restoration project, speeding the work by years by providing funds to hire two outside conservators to work at the gallery. The bank began funding conservation projects in recent years since the economic downturn after seeing a need that was largely unfunded. It is committing $2 million a year to provide grants to museums for such conservation projects, and the National Gallery of Art is among its largest grants, said Allen Blevins, a senior vice president in charge of heritage and arts programs. The bank wanted to fund projects that would make such works more accessible to the public, Blevins said, and "this is going to allow them to loan more Gilbert Stuart portraits to museums around the country."
[Associated
Press;
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