As if it’s 1432 all over again: now that the ‘Ghent Altarpiece’ restoration is in its final phase, the original masterpiece is becoming visible again

The genius of the Van Eyck brothers lies in the small details. Thanks to the work of many scientists from different countries, these details are coming to the surface again during the restoration. For example, small shadow spots can again be seen next to the pearls on the green cloak of John the Baptist.

The shadow makes the pearls shine just a little bit more. The spectacular result of the first two phases of the restoration seems to continue in the third. By removing yellowed varnish and non-original layers of paint, the colors of the work light up again, as if it were 1432 again.

“The shadow of the pearls on the green fabric is very impressive,” says art historian Griet Steyaert, coordinator of scientific research for the project. “We now encounter these kinds of details all over the painting.”

In addition to removing later layers of paint or varnish, the restorers also retouch the damage to the painting. To do this, they fill small holes with a paint that is easy to remove.

The experts know that the later layer of paint on John’s cloak dates from the sixteenth century, because pigment grains containing poshnakite were found in it. This only occurs in paintings from the century after that of the Van Eyck brothers. God’s red cloak was also painted over during that period.

“The overpaintings are mainly on the cloaks of the three central figures,” says Steyaert. “We are still investigating in other places whether who can safely remove overpaint.”

The restoration of the masterpiece has been going on for more than ten years. The third phase started in May last year and includes the seven top panels. In addition to John the Baptist, Adam and Eve, the music-making angels and God also receive himself a makeover.

Lamb’s head

The public can still see the restorers at work in the Ghent KMSKA museum, where scientists gave an update on Tuesday. The experts are happy to highlight their scientific approach during the presentation. This is necessary because the restoration project has recently received fierce criticism. Hélène Verougstraete, emeritus professor of art history at KU Leuven and UC Louvain, called it “downright disastrous”.

She claimed that the restorers removed layers of paint that the Van Eyck brothers painted themselves. But according to the international advisory committee, consisting of the cream of the art world, these were additions made a century later.

The criticism focused, among other things, on the lamb’s head, which looks different since the restoration. The eyes now look at the viewer head-on and the ears are slightly lower. According to Steyaert, the restoration shows the realism of the painting.

“I have looked at many photos of lamb heads and this one matches them perfectly,” says Steyaert. “Look at the pupils. They are horizontal again after the restoration. All prey animals, such as sheep and goats, have horizontal pupils, because this makes it easier for them to spot predators. They have a panoramic view of their surroundings.”

The restorers only intervene if they are sure that a layer of paint is not original and if the original layer underneath is in good condition – which is the case for a large part of the painting. Every element of the criticism has now been carefully refuted. According to Steyaert, a lot of time has gone into this.

“It was not a substantiated criticism, but an amalgam of separate accusations,” says the art historian. “That already made it more difficult to respond to it. As scientists, we had to explain what happened to everyone involved, including the government.”

Tiled floor

The seven final panels still pose some challenges for the team. Just behind the three central figures, expensive silk fabrics are painted. They are made of tin foil, gold leaf and paint. According to the researchers, its restoration is very complex. It is still being investigated whether later additions can be safely removed.

A similar investigation is also underway for the organ on which the angels play and for the tiled floors of various panels. They now look matte and dull. But according to Steyaert, they once lit up. “It was a bit like the disco floor that John Travolta was in Saturday Night Fever danced to,” says the art historian.

The tiled floors consist of gold leaf to which a fine layer of transparent green has been applied. So when light fell on it, the floor started to sparkle. But that effect was lost due to a thick overpaint. The researchers hope that they can bring back that old shine.

On May 6, 1432, the work – begun by Hubert and finished by Jan Van Eyck – was installed in St. Bavo’s Cathedral, after which it was admired for centuries. The restorers are now looking forward to the moment when all panels are reunited.

“The first results of this restoration phase are already promising,” says Steyaert. “The restoration of all panels will be completed in 2026 and the Van Eyck brothers’ masterpiece will be restored to its full glory.”