Little Elena in Her Desk – Joaquín Sorolla y Bastida

This work by Joaquín Sorolla is executed on a linen canvas support, which remains structurally stable and in good condition. The canvas had previously undergone lining, and the stretcher—complete with keys and auxiliary crossbars—continues to provide adequate structural support. The ground layer, traditionally composed of calcium sulfate and animal glue, remains intact and stable, with no significant cracking observed. The pictorial surface is generally well preserved, with only minor alterations caused by previous overpainting and isolated areas of craquelure linked to the artist’s original technique and material composition. The varnish layer, however, had undergone oxidation over time, resulting in a yellowed and uneven surface that obscured the vibrancy of Sorolla’s palette. Layers of environmental dirt and residues—likely accumulated over decades—further reduced the clarity and immediacy of the composition. Prior to intervention, a series of analytical techniques were employed, including ultraviolet light, raking light, and macrophotography. These methods allowed the identification of earlier restorations, overpainted areas, and surface irregularities, ensuring a precise and informed conservation approach. The restoration process began with comprehensive photographic documentation. Cleaning was then carried out in two carefully controlled phases: the removal of oxidised varnish and surface dirt, followed by the reduction of previous overpainting that extended beyond its original function. This process revealed the luminosity and freshness characteristic of Sorolla’s technique. Following cleaning, minimal retouching was undertaken to reintegrate minor losses and ensure visual coherence. A final protective varnish layer was applied to unify the surface and enhance tonal depth, restoring the painting’s balance and immediacy. All materials and techniques used are fully reversible, ensuring the long-term preservation of the artwork without compromising its original substance. The painting is now presented in a stable condition, allowing a renewed appreciation of Sorolla’s light, color, and intimate portrayal.

Each restoration is guided by three principles: Respect for the original material, reversibility of all interventions, and clarity of the artist’s intent. At Colnaghi, conservation is both a technical and scholarly process—preserving not only the physical object, but its historical and artistic meaning.