Behind the scenes in Conservation
Cleaning Constable's 'The Hay Wain'
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About
In this episode, Restorer Paul Ackroyd shows the effects of removing the discoloured 80-year-old varnish from 'The Hay Wain', including some of the painting's small details which have been made clearer during the process.
About the painting
'The Hay Wain' is one of the most popular paintings in the National Gallery. Painted in 1821 by the English landscape artist, John Constable, the view is of the millpond at Flatford on the River Stour. Flatford Mill was a watermill for grinding corn, operated by Constable's, family for nearly a hundred years. The painting's title, 'The Hay Wain', refers to the wooden wagon (wain) used for transporting cut and dried meadow grass (hay).
Although Constable's pictures are extremely popular today – 'The Hay Wain' arguably his most famous – they were not particularly well received in England during his lifetime. Constable did, however, have considerable success in Paris, and he was awarded a gold medal by the French king, Charles X, at the Paris Salon in 1824, chiefly for 'The Hay Wain.' The medal is now in the National Gallery Archives.
Watch previous episodes in the series:
Behind the scenes in Conservation
Cleaning Reynolds' 'Captain Robert Orme'
Behind the scenes in Conservation
Displaying 'The Red Boy'
Behind the scenes in Conservation
A first look at 'The Red Boy'
Behind the scenes in Conservation
Restoring Piero della Francesca's 'Nativity'
Behind the scenes in Conservation
Cleaning 150-year-old varnish from a Frans Hals portrait
Behind the scenes in Conservation
Cleaning the 'lost altarpiece'
Behind the scenes in Conservation
The unfashionable artist who inspired Van Gogh
Behind the scenes in Conservation
Restoring an 'undisplayable' painting: Part two
Restoring an 'undisplayable' painting: Part one
Behind the scenes in Conservation
Restoring the Gallery's oldest painting
Behind the scenes in Conservation
Restoring Botticelli's 'Adoration of the Kings': Part one
Behind the scenes in Conservation
Restoring Botticelli's 'Adoration of the Kings': Part two
