Staff Reports
An unexpected revelation has emerged regarding the presence of a malevolent entity in "The Death of Cardinal Beaufort," an antiquated painting attributed to Joshua Reynolds and dating back over two centuries. This humorous discovery was disclosed by the National Trust in the course of a recent restoration of the artwork. Presently exhibited at the Petworth House in West Sussex, England, the artwork portrays a sequence extracted from "Henry VI, Part 2" by William Shakespeare, in which the monarch beholds the demise of Cardinal Beaufort.
'Devil-Like Figure' Hidden in Renowned Artist's 1700s Painting Emerges After Restoration https://t.co/FIcou411a9
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Beneath Cardinal Beaufort's cranium, a malevolent individual adorned with an ominous grin is discernible among the shadows. Due to the fact that Reynolds' incorporation of this controversial element was considered unconventional by his contemporaries, this "devil-like figure" has generated considerable controversy. As stated by John Chu, the Senior National Curator for Pictures and Sculpture at the National Trust, the literal representation of a poetic figure of speech in this grotesque figure was incongruous with certain artistic conventions of the era.
However, this malevolent addition did not encounter universal opposition. Erasmus Darwin, a poet of the eighteenth century, endorsed Reynolds' decision, posing the following question: "Why shouldn't painting, like poetry, employ metaphor or indistinct allegory to convey its meaning?" It appears that Reynolds undertook a venture by integrating this audacious figure into his artwork.
The artwork has been subjected to numerous restorations and alterations over time, such as the application of numerous coats of varnish and numerous attempts at repainting. The restoration procedure was deemed "extraordinarily challenging" by the Trust's Senior National conservator for paintings, Becca Hellen, on account of the complexities of the shadowed area where the malevolent figure is situated. She elaborated that the protracted drying time of the dark colors employed in this section of the artwork invariably led to a "chaotic interweaving of multiple paint strata."
The restoration has successfully unveiled the malevolent figure and reinstated the artwork in its initial condition, notwithstanding the obstacles encountered. This revelation introduces an additional stratum of fascination to the artwork and offers a captivating insight into Reynolds' artistic decision-making. Reynolds' work reviving in light of the 300th anniversary of his birth is an intriguing phenomenon. The devil is in fact in the particulars.
