Buy Tickets
Shop
Donate
Become A Member

Day: August 22, 2016

Categories
The Poe Museum Blog

Poe Museum Sheds New Light on Endangered Portraits

What in the world happened to Caroline Griswold’s face? Rest assured, she still looks the same as she did last week. We just photographed her under different lighting conditions. By lighting the portrait from an angle, the conservator is better able to see the surface cracks that need to be repaired. Below is the portrait under normal illumination. The cracks are not quite as easy to see this time.

Now look at this photograph taken under ultraviolet illumination.

This lighting causes organic substances to fluoresce while inorganic substances absorb the light and look black. The organic resin varnish added as a protective layer over the finished painting is fluorescing, but there are also dark splotches that show the presence of paint applied on top of the varnish. This is the result of restorers covering up areas of missing or damaged paint with matching paint. The only problem is that, because they didn’t clean the painting before adding the patches, the patches match the color of the dirty paint. These means that, when the painting is cleaned, the patches will no longer match the painting. Figuring out which parts of the painting are original and which are not helps our conservator get a better understanding of how the painting originally appeared. This provides him a kind of road map to follow during the conservation process.

Notice that some of the patches are lighter than others. These are likely older patches painted by a previous restorer. The light spots on the painting appear to be another organic residue, maybe splattered food or mold.

This detail of the lower edge of the portrait shows the presence of organic residue that dripped down the paint surface.

Now let’s take a look at some of the conservator’s photos of the Rufus Griswold portrait. This is a photograph under normal illumination. Under this light, one can already see how dirty the painting is, but looking at it with different lighting will show us even more.

Here is one taken with raking light to show the cracks. Especially evident is a bulge on the lower edge of the canvas caused by the accumulation of dust and debris between the back of the canvas and the stretcher. This will have to be repaired by removing the canvas from the stretcher and flattening it before restretching it.

Here is one taken under ultraviolet illumination. (Notice the varnish on the easel is also fluorescing.) You can see some large areas where missing paint was restored.

A detail of the lower left corner of the portrait taken under raking light shows the bulge, a vertical crack with missing paint, and a major hole in the canvas.

The same area shown under ultraviolet illumination reveals extensive repairs made by a past restorer.

By taking multiple photographs using different kinds of light, our conservator will determine which parts of the painting are original and which are not as well as which parts should be cleaned and which should be removed. This guided him when he performed a test cleaning on Rufus Griswold’s face.

These kinds of tests will help the conservator get a better idea of how the portraits underneath 176 years of grime and dirty varnish should look after a successful cleaning. Only after careful study, planning, and testing, will the conservator be able to begin the treatment process, which may take months to complete.

Since the portraits of Rufus and Caroline Griswold arrived at the Poe Museum a couple months ago, we have had several visitors ask about them. If you would like to see the portrait of Rufus Griswold in its current state, please visit the Poe Museum’s Elizabeth Arnold Poe Memorial Building where it is hanging above Edgar Allan Poe’s trunk.

If you are interested in helping out with the conservation process, please vote for the Rufus Griswold portrait to be Virginia’s Most Endangered Artifact for 2016. Just click here to vote.

Categories
The Poe Museum Blog

H.P. Lovecraft Visits the Poe Museum

HP Lovecraft by Semtner

Last Saturday, August 20, would have been the 126th birthday of H.P. Lovecraft (1890-1937), author of such influential horror, science fiction, and fantasy tales as The Call of Cthulhu, The Dunwich Horror, and At the Mountains of Madness (which was inspired by Poe’s novel The Narrative of Arthur Gordon Pym). Lovecraft’s influence on both horror fiction and popular culture has been vast. Several of his works have been adapted to film, music, and even games. In his tales of cosmic horror he created a shared fictional universe known as the Cthulhu Mythos, which continues to live on in the works of legions of later authors.

Lovecraft was also a great admirer of Poe’s works and devoted an entire chapter of his 1935 book Supernatural Horror in Literature to him. In that chapter, Lovecraft writes,

Before Poe the bulk of weird writers had worked largely in the dark; without an understanding of the psychological basis of the horror appeal, and hampered by more or legs of conformity to certain empty literary conventions such as the happy ending, virtue rewarded, and in general a hollow moral didacticism, acceptance of popular standards and values, and striving of the author to obtrude his own emotions into the story and take sides with the partisans of the majority’s artificial ideas. Poe, on the other hand, perceived the essential impersonality of the real artist; and knew that the function of creative fiction is merely to express and interpret events and sensations as they are, regardless of how they tend or what they prove — good or evil, attractive or repulsive, stimulating or depressing, with the author always acting as a vivid and detached chronicler rather than as a teacher, sympathizer, or vendor of opinion. He saw clearly that all phases of life and thought are equally eligible as a subject matter for the artist, and being inclined by temperament to strangeness and gloom, decided to be the interpreter of those powerful feelings and frequent happenings which attend pain rather than pleasure, decay rather than growth, terror rather than tranquility, and which are fundamentally either adverse or indifferent to the tastes and traditional outward sentiments of mankind, and to the health, sanity, and normal expansive welfare of the species.

Never a terribly famous writer during his lifetime, Lovecraft would likely not have been recognized by the staff when he visited the Poe Museum in Richmond in May 1929. On May 4, he wrote Elizabeth Toldridge, “In Richmond the chief object of interest for me is the Poe Shrine—an old stone house with two adjoining houses connected as wings & used as a storehouse of Poe reliques. Here I have spent much time examining the objects associated with my supreme literary favourite—to say nothing of the marvelous model of Richmond in 1820, housed in one of the wings.”

The Poe Museum’s Old Stone House, Enchanted Garden, and model of Richmond remain much as they were in 1929, so today’s guests can still feel much of the atmosphere that must have inspired Lovecraft during his visit. The following photographs date to about that time.

The Poe Museum in June 1929. The Enchanted Garden in early spring of 1929. Elizabeth Arnold Poe Memorial Building in about 1928

Lovecraft was not the only famous cultural figure to make a trip to the Poe Museum. Vincent Price, Salvador Dali, and Gertrude Stein also visited. Click their names to read about their Poe Museum experiences.