Arcanes SARL

This tondo-shaped oil painting on wood was executed around 1500 by an anonymous artist. It depicts the Virgin and Child, accompanied by the young Saint John the Baptist and two angels. Adhering to the stylistic tradition of late fifteenth-century Florentine painting, the work displays a masterful command of both composition and colour. The figures’ gentle expressions and serene bearing evoke the graceful arrangements of Botticelli while also reflecting the naturalism championed by Piero di Cosimo. At the center of the scene thrones the Virgin Mary, robed in sumptuous red, anticipating the Passion, and cloaked in a voluminous blue mantle. A rose-hued veil partially secures her fair hair. She gazes tenderly upon the young Saint John the Baptist, whose cheek she caresses lightly, underscoring her status as the universal Mother. In turn, Saint John the Baptist, arms crossed in reverence, receives the blessing of the Child. Two pomegranates allude to the abundance of Paradise, Mary’s role as spiritual mother, the unity of the Church, and ultimately the Passion of Christ. The angel on the left, enigmatic in its isolation, stands behind the group and engages directly with the observer, inviting the viewer to assume the role of a sixth participant within the scene. In the background, a delicately rendered landscape unfolds, featuring gently rolling hills and distant architectural forms bathed in diaphanous light. This atmospheric effect gradually fades into a bluish gradient. Yet the architecture in the far distance diverges from Tuscan tradition, suggesting a northern influence in its sharply pitched roofs that rise steeply towards the sky. This painting illustrates with eloquence the transition between the Quattrocento and the Cinquecento: a pivotal moment in which Florentine art strove to reconcile the linear elegance inherited from Gothic aesthetics with a heightened emotional expressiveness and a growing pursuit of naturalism. Anonymous, The Virgin and Child with the Infant Saint John the Baptist, oil on panel, 16th century, private collection.

This elegant panel portrays Sabina Poppaea, the last wife of Roman Emperor Nero. According to ancient sources, Poppaea’s celebrated beauty and influence made her both a muse and a warning—qualities that resonated powerfully with a sixteenth-century audience enthralled by the revival of antiquity. The subject first appears at Fontainebleau in the 1540s, when a circle of artists at the court of François I came under the formative influence of Italian Renaissance art. Their innovations were not only stylistic but also thematic, revealing an emergent interest in the aesthetic of antiquity. These French artists, later associated with what is known as the School of Fontainebleau, introduced refined techniques and fresh motifs that departed from more traditional medieval aesthetics. As portraiture grew in prominence, painters seized upon the story of Poppaea—an alluring figure from antiquity who could personify both classical elegance and contemporary ideas of the “fatal beauty”. The enduring success of this composition is reflected in the significant number of contemporary copies now housed in museums and private collections worldwide. These works continue to raise intriguing questions, such as the precise relationship between the various versions and how they may relate to an as-yet-unidentified primary original. Scholars have also debated whether these depictions truly represent Poppaea herself, or if the subject might be a courtly figure cast in the role of the Roman empress. Interestingly, most extant versions of the painting preserve the model’s distinctive pose, physical attributes, and costume details. However, variations do appear in the size of the panels, and certain examples include a sculpted cartouche explicitly identifying the sitter as Poppaea Sabina. Recent conservation of the panel presented here revealed a remnant of just such a cartouche in the lower right-hand corner. Evidence suggests that the work may have been trimmed at some stage, effectively excising the inscription that once named the subject as Poppaea. Anonymous, Poppaea Sabina, sixteenth century, School of Fontainebleau, 57.8 x 47.6 cm, oil on wood, private collection

The Salon of Diana, a jewel within the Château de Versailles, is currently undergoing a restoration of exceptional magnitude, entrusted to Arcanes. This ambitious project, extending over several months, centres on the voussures—those graceful architectural transitions linking the ceiling to the cornice—which serve as the setting for exquisite works such as Diana Presiding over Navigation and the Hunt by Gabriel Blanchard, as well as works by Charles de La Fosse and Claude Audran. These compositions, executed in oil on marouflaged canvas and adorned with resplendent gilding, epitomise the artistic brilliance of the late 17th century. Prior to the commencement of restoration interventions, a comprehensive campaign of scientific imaging was conducted by RES SARL to reveal the condition of the artworks in their most intricate detail. Advanced techniques, including ultraviolet imaging, false-colour infrared photography, raking light, and infrared reflectography, were employed to uncover otherwise imperceptible alterations, thus providing critical insights for the formulation of tailored restoration protocols. The project has now entered its testing phase, concentrating particularly on cleaning methodologies. This preliminary stage involves the careful removal of accumulated surface deposits, while simultaneously identifying and addressing areas where the paint layer exhibits instability or where the canvas shows signs of detachment. These interventions are executed with the utmost respect for the integrity of the original materials, employing precision and sensitivity to honour the historical and artistic significance of these exceptional works. This restoration endeavour is made possible through the generous patronage of Dior and the American Friends of Versailles, with the invaluable collaboration of the Société des Amis de Versailles.

In a pose that exudes both naturalness and tender abandon, the Child reclines upon a soft green cushion, gently supported at the shoulders by the Virgin’s folded arm. Clinging to her maternal breast with the instinctive eagerness of infancy, he is wholly absorbed in this intimate act. Above him, the Virgin leans forward with a joyous attentiveness, her fingers delicately guiding the nipple to the lips of Christ. Unlike the majority of Madonnas of the same period, the Virgin’s gaze is imbued with a playful vitality as she seeks to meet her son’s eyes. Encased within the soft folds of her white veil, her face blooms with grace and serenity. Her features, both delicate and refined, possess an unmistakable elegance, radiating maternal warmth and celestial beauty. The painter situates this tender tableau against the dark backdrop of a majestic grove, its dense foliage lending depth and contrast to the scene. Beyond the branches, the landscape opens up to reveal a tranquil expanse: to the right and left, a sinuous line of bluish hills graces the horizon. A clear, meandering stream traverses the plain, and in the distance, verdant meadows stretch expansively, dotted with the tiny figures of distant wanderers. Andrea Solario’s journey as an artist began when he left his native Lombardy to settle in Venice around 1490. Here, he absorbed the profound influences of Antonello da Messina, Giovanni Bellini, the Murano painters, and, significantly, the vibrant techniques of Flemish art. Yet, it was upon his return to Milan that his artistic development was most deeply shaped by the Leonardean legacy. This influence—irresistible and transformative—defined the subsequent evolution of his style, a journey of refinement that continued to flourish during his prolonged sojourn in France. Despite the constraints of his artistic education, Andrea Solario emerged as a painter of extraordinary technical skill and poetic sensibility. His mastery is evident in the interplay of light and shadow, the tender humanity of his figures, and the meticulous rendering of textures and details. ©Arcanes Andrea Solario, The Virgin Nursing the Child, also known as The Virgin with the Green Cushion, oil on panel, c. 1507 – 1510, Musée du Louvre

Arcanes SARL was in Beijing with RES SARL to curate the new Caravaggio exhibition at the National Museum of China. An opportunity to showcase the advanced restoration techniques and diagnostic methods that bring new insights into his work, allowing visitors to experience the fusion of historical artistry with contemporary scientific expertise.

Domenico di Zanobi, once recognised under the conventional name of the Master of the Johnson Nativity, was an Italian Renaissance painter whose career spanned from 1460 to 1481. While the exact dates of his birth and death remain uncertain, he is documented as a mature artist from 1467 onwards. Trained under Filippo Lippi, Domenico di Zanobi worked as an assistant to the master, most notably on the frescoes in Prato Cathedral. This close relationship with Lippi is evident in Zanobi’s works, characterised by the elegance of their lines and the softness of their compositions. Zanobi's fascination with Nativity scenes is apparent in a number of his paintings, where he reinterpreted the subject with varying compositions, each reflecting the influence of his mentor. The first painting under consideration, from the collections of the Musée des Beaux-Arts in Tours, presents the Nativity within a serene and intimate setting. The Virgin Mary is shown tenderly sustaining the Christ Child, surrounded by youthful depictions of Saint John the Baptist, clad in camel’s hair, and Saint Francis, dressed in his traditional Franciscan habit. The figures are imbued with a sense of quiet devotion, typical of Zanobi’s refined, contemplative style. The second painting, from a private collection, depicts the Virgin in adoration of the Child, who is portrayed lying on her mantle, spread on the ground. The infant Christ gazes outward, directly engaging with the viewer. In the background, an angel announces the good news to the shepherds, while the scene also includes the young Saint John the Baptist and an image of Saint Joseph, shown asleep with an axe planted in a tree—an allusion to his role as a carpenter. In both compositions, the infant Christ grips a goldfinch in his hand, a symbol foreshadowing the Passion. ©Arcanes Domenico di Zanobi, The Virgin and Child between Saint John the Baptist and Saint Francis, tempera and oil on panel, 15th century, Musée des Beaux Arts de Tours Domenico di Zanobi, The Virgin and Saint John the Baptist Adoring the Child, with Joseph and the Annunciation to the Shepherds, tempera and oil on panel, 15th century, private collection

While trying, inconspicuously, to warm his hands in the courtyard of the high priest’s palace, the apostle Peter is recognized by a servant girl of Caiaphas as a follower of Jesus. The assorted company of soldiers take notice—in varying degrees. The gestures of the hands convey the intense dialogue in which the characters are engaged, Peter’s posture, though silent, renders “audible” his famed denial ; the woman points to the apostle, conveying her certainty in having recognised him; while the raised hand of the guard conveys the menace directed at Peter, intended to force him into revealing the truth. The denial of Saint Peter is a canonical theme that was highly fashionable and widely represented in Baroque painting at the beginning of the 17th century. Here, the dynamism, the theatricality of the scene, the colours, the introduction of contemporary costumes, and the use of chiaroscuro are all reminiscent of Caravaggesque compositions. The blending of religious painting with genre scenes (such as the game of cards) is also a novel approach, linking the spiritual with the everyday lives of the faithful. Likely born in 1590 in Coulommiers, France, Valentin de Boulogne emerged as a pivotal figure within the circle of Caravaggisti, the followers of Caravaggio, who sought to emulate and expand upon the revolutionary naturalism and emotional intensity pioneered by the master. He arrived in Rome around 1614, the artistic capital of the time, where he would spend the entirety of his career until his untimely death in 1632. During his lifetime, Valentin enjoyed considerable recognition, particularly esteemed by the Barberini court. Valentin had particular success with a type of composition invented by Caravaggio in which fortune tellers, drinkers, or gamblers are grouped around a table. Valentin's genius shows in the subtleness of psychological expression and interplay among his characters, as well as in the refinement and finesse of his painting technique. Valentin de Boulogne, Denial of Saint Peter, oil on canvas, 17th century, private collection. ©Arcanes

3️⃣ Restauration d’œuvres d’art : quelles évolutions aujourd’hui et dans les 20 prochaines années ? Cinzia Pasquali témoigne ici de l’évolution de son métier, alliance des domaines scientifiques et humanistes 🎥 Art Behind • Arcanes SARL

2️⃣ Les étapes de la restauration d’œuvres d’art avec Arcanes SARL De l’étude, inspirée par les techniques d’imagerie médicale, jusqu’au nettoyage, traitement de l’œuvre et phase finale, plongez au cœur de l’Atelier Arcanes avec l’équipe de Cinzia Pasquali 🎥

[ Art Behind • 𝘳𝘦𝘴𝘵𝘢𝘶𝘳𝘢𝘵𝘪𝘰𝘯 𝘥'𝘰𝘦𝘶𝘷𝘳𝘦𝘴 𝘥'𝘢𝘳𝘵 ] 1️⃣ BAIL ART • Pour l’Art en Entreprise présente les métiers de la restauration d’œuvres d’art et part à la rencontre de Cinzia Pasquali, au cœur de son atelier Arcanes co-fondé en 2004 Arcanes SARL 🎥 2️⃣ 3️⃣ Cette première vidéo dévoile les coulisses du métier, les 2 suivantes diffusées jusqu’à vendredi évoqueront les différentes étapes de la restauration d’œuvres d’art, puis les récentes évolutions et perspectives de ce métier d’art encore largement méconnu. Merci à toute l'équipe de l'atelier pour votre accueil et le partage d'un métier de passion ✨