Cain Slaying Abel by Flemish master Sir Peter Paul Rubens (1577-1640), is regarded by many art historians as one of the finest and most important works in the Courtauld Gallery's collection of paintings by this artist.
The work depicts the Old Testament story in which Cain, Adam and Eve's eldest son, murders his brother Abel in a fit of jealousy. At the time of its creation, the painting influenced many of Ruben's contemporaries, and in the four hundred years since, has continued to influence future generations of artists.
Cain Slaying Abel has now been fully restored as part of the Bank of America Art Conservation Project, established in 2010. The eleven-month project was carried out by Kate Stonor and Clare Richardson, from the Department of Conservation and Technology of The Courtauld Institute of Art. During their work conservators, uncovered vital new information about both the painting and the artist's working practices.
Speaking recently, Dr Ernst Vegelin, Head of The Courtauld Gallery, said: “The conservation of Cain Slaying Abel has preserved an extremely important work by one of the world’s best-known artists, and the new research and discoveries that have arisen from the project will now form part of our numerous public and university teaching programmes”.
Why Was Conservation Necessary?
The Courtauld Gallery acquired the painting in 1978 as part of Count Antoine Seilern's Princes Gate Bequest. The work was in a poor state with scratches, uneven patches of paint and a coat of yellowing opaque varnish. Earlier conservation work, such as attempts to rejoin damaged panels, had failed and the paint surface had started to blister. At some time a cradle, a lattice of wood, had been applied to the back of the painting in an attempt at stabilisation. The lattice was riddled with woodworm and also put stress on the panel support.
What Was Involved in the Conservation?
The lattice cradle was carefully removed, and the minute woodworm holes filled with cellulose fibres. The conservators also removed the yellowed varnish and restored missing pigments and glazes which had to be precisely matched. Because of the Courtauld Institute's work Cain Slaying Abel should remain stable for at least one hundred years.
New Insights Into Rubens' Artistic Practices
Whilst working on this project Stonor and Richardson uncovered many interesting new facts about Ruben's artistic practices. Using dendrochronology, the study of the pattern of rings in a piece of wood, conservators have been able to date the painting to between 1600 and 1912.
X-rays and ultra-violet photography show how Rubens changed the position of Cain's eyes and the composition of Cain's weapon-wielding arm – he used an animal's jawbone to kill Abel.
Infra-red imaging has revealed detailed under drawings beneath the tree in the background. These drawings are far more precise than drawings usually made by Rubens, and suggest that, by the time this painting was executed, he had already set up his own workshop and taken the unusual step of employing a specialist artist to create the landscape.
For most of his paintings on panel Rubens chose high-quality timber, mainly from the well-stocked forests bordering the Baltic Sea. However, for this particular work, he selected a low-quality panel of oak and sapwood, suggesting that he had no particular client for the work. The painting may have intended to demonstrate his skills to potential patrons. Rubens' choice of cheaper materials could explain why the panel suffered so badly over time. Furthermore, it appears that Rubens spent little time on the finer details of some areas of the painting, such as Cain's back, which are less visible.
Cain Slaying Abel can be seen in the Rubens and Baroque Room together other works by Rubens including Moses and the Brazen Serpent, already conserved by Stonor and Richardson.
Further information is available from the Courtauld Gallery.
Source:
- The Courtauld Gallery
Frances Spiegel - Frances Spiegel, B.A. Hons. (Open)., Dip.Eur.Hum., read Art History/European Modern History at the Open University.
