Detail of the window before restoration
Detail of the window after restoration
Detail of Jo’s head before restoration
Detail of Jo’s head after restoration
A rediscovery following extensive restoration.
The Van Gogh Museum has several portraits of Jo van Gogh-Bonger (1862–1925) in its collection, including this one, painted by her second husband Johan Cohen Gosschalk (1873–1912). The portrait dates from around 1902, when the couple lived in ’t Gooi in the Netherlands.
It shows Jo at her desk, leaning slightly forward, fully absorbed in her writing. This must have been a characteristic pose for her: following the death of Jo’s first husband Theo, she was determined to promote and sell her brother-in-law Vincent’s work, and maintained an extensive correspondence with collectors, art dealers and museums in the Netherlands and abroad. In the background, at upper right, a painting can be seen that has been identified as one of the versions of Van Gogh’s Cypresses and Two Women.
Since the founding of the Van Gogh Museum, this portrait of Jo has rarely been on view, remaining in storage until renewed interest in her prompted the decision to restore it.
The Van Gogh Museum subsequently commissioned private restorer Erika Smeenk-Metz to carry out the restoration.
Before treatment, it was established that a considerable amount of paint had been lost in the past, that paint layers were unstable in places, and that the entire surface was covered in thick, uneven layers of dirt and discoloured, patchy varnish. There were also a number of old retouchings and areas of overpaint. As a result, the painting lacked vibrancy and appeal.
During the removal of dirt and varnish, it became clear that the areas with overpaints were far more extensive than initially thought. Further research was therefore required to determine the exact nature and purpose of these additions, whether they might have been executed by the artist himself, and if not, whether and how they could safely be removed.
This research revealed that the pigment size, texture and manner of application of the overpainting did not correspond with Cohen Gosschalk’s working method, which is visible in the untouched areas of the composition. Moreover, the coarse overpainting had clearly been applied on top of existing craquelure, suggesting that a considerable time must have passed between the completion of the original painting and the later interventions. It was further established that alterations had been made during the process. The colours deviated from the original – as seen, for example, in the purple curtain and the subject’s green-black hair.
In addition, parts of the composition had been altered and even invented, such as the net curtain in the window, and Jo’s face, which was given a new mouth and eyes. The reasons for such extensive overpainting remain unclear. It may be that damage to the paint layers provided the occasion not only to conceal damage but also to make creative alterations according to personal taste.
Portrait of Jo prior to restoration
Close inspection of the underdrawing, revealed by infrared reflectography, showed that Cohen Gosschalk had first made a comprehensive, meticulously executed drawing that served as a guide for the painting. The artist worked with great care, consistently following the lines of his underdrawing. However, neither the net curtain nor the heavily altered, overpainted facial features correspond to the areas in the neatly executed underdrawing underneath.
Underdrawing as revealed by infrared reflectography
All of these observations were made by examining the surface with the naked eye and under the microscope, and were later confirmed by the analysis of paint cross-sections taken from selected areas.* It was therefore decided to remove all overpaints and to present the work without these later, non-original additions, thereby doing greater justice to Cohen Gosschalk’s composition.
Once overpaints had been removed, all losses in the paint layers were filled and retouched, after which a new final varnish was applied. A new frame was made to present the painting to its best advantage. After years of absence, Cohen Gosschalk’s vision of his wife can once again be admired in full.
*A sample was taken consisting of the ground, paint and varnish layers, embedded in synthetic resin to facilitate handling and then polished. Microscopic examination of the resulting cross-section reveals the stratigraphy of all layers at that spot in the painting. The paint cross-sections were analysed by researchers at the Cultural Heritage Agency (RCE, Amsterdam).
Detail of the window before restoration
Detail of the window after restoration
Detail of Jo’s head before restoration
Detail of Jo’s head after restoration
The restoration of this painting was generously supported by Stichting Lieve.