![\"Antoni](\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Antoni-Fabr\u00e9s-Desert-blanc-1024x538.jpg\")
<\/a>Studying the painting White<\/em> Desert, <\/em>by Antoni Fabr\u00e9s <\/h3>\n\n\n\nThe painting,\ndone in about 1901 during the artist\u2019s stay in Paris, is a large-format oil\npainting on canvas (157 x 298 cm), on which Fabr\u00e9s applied the paint using the\npaintbrush and the palette knife, secure in his mastery of the technique. It\ndepicts a naturalistic landscape, with a surprising compositional framing, in\nwhich the snow-covered ground and the bottom of a tree are the main features. <\/p>\n\n\n\n
What led\nus to study this work is another <\/strong>version<\/strong><\/a> by the same artist, owned by the\nFabr\u00e9s family, in which there is a dead soldier lying on the snow in the middle\nof the composition<\/strong>. This other painting, smaller in size (60 x\n110 cm), is titled Dead Sentry<\/em>, and in\nit the sentry is the focal point of the painting.<\/p>\n\n\n\n![\"Antoni](\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/sentinella-mort-antoni-fabr\u00e9s-1024x565.jpg\")
<\/a>Antoni Fabr\u00e9s, Dead Sentry<\/em>. (Matilde Betti-Berutto Collection) <\/figcaption><\/figure>\n\n\n\nConnections between Dead Sentry<\/em> and White Desert<\/em><\/h3>\n\n\n\nIn the drawings by Fabr\u00e9s conserved in the museum, and in the five albums in the Museu Nacional\u2019s Joaquim Folch i Torres Library and Archive<\/a>, relative to his painting work, no sketches directly related to this composition have been found. But we do see some images reproduced that are related to the paintings in question. In the first album there is a drawing showing a fallen figure that recalls the sentry, with the characteristic torsion of the arm and the palm of the hand facing upwards; and in the third album, there are landscapes reproduced with holm oaks, whose trunks are similar to our leaning tree. <\/p>\n\n\n\n![\"Drawing](\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Dibuix-Antoni-Fabr\u00e9s.jpg\")
<\/a>Drawing in album 1 by the artist <\/figcaption><\/figure>\n\n\n\nWith all\nthese clues it seems logical to think that an analysis with infrared reflectography<\/strong>, in which the underlying paint\nlayers are captured, might supply information\nabout the connection between the painting in the Museu Nacional and Dead Sentry<\/em>.<\/strong> It is a question of\nrevealing whether the canvas belonging to the artist\u2019s family might be the\npreparatory sketch for the large-size painting, kept in the museum. <\/p>\n\n\n\nReflectogram of White Desert<\/em><\/h3>\n\n\n\n![\"Taking](\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/reflectograma-Desert-blanc.jpg\")
<\/a>Taking the reflectogram of White Desert<\/em> <\/figcaption><\/figure>\n\n\n\nThe reflectogram (IR)<\/strong><\/a> of White<\/em> Desert <\/em>certainly does reveal the presence of a lying figure<\/strong>, in the same place and in the same position as the one in the painting Dead Sentry. <\/em>Thanks to the reference that this work gives us, it can be claimed that the figure revealed in the reflectogram is that of a dead soldier, with a rifle in front of him and a pack on his back, as can be seen in Dead Sentry. <\/em>He was most probably a soldier in the French infantry, given the red, white and blue colours of the uniform he is wearing in this painting.<\/p>\n\n\n\n![\"White](\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Desert-blanc-reflectografia-1024x525.jpg\")
<\/a> White Desert.<\/em> \u00a9 Museu Nacional d\u2019Art de Catalunya (2019) RIR: Campuzano, Pedragosa, Ramells <\/figcaption><\/figure>\n\n\n\nThe\nsoldier\u2019s foreshortened position undoubtedly recalls some drawingsby Mari\u00e0 Fortuny<\/a>, such as Dead\nMoroccan. Study for the picture ‘The Battle of Tetouan’<\/a>\nor Death of a\nRoman Soldier<\/a>. The\ninfrared reflectography technique is a\nsuitable tool for understanding how the sentry was done in White Desert<\/em>. Fabr\u00e9s used a\ntraditional method of working by which he sketched the outlines of the shapes\nwith fine lines of graphite or charcoal<\/strong>, like for example those of the\noutline of the hat and the top half of the backpack. Then, with the paintbrush,\nhe painted on top and constructed them, defining the details. <\/p>\n\n\n\n![\"White](\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/desert-blanc-rir-1024x710.jpg\")
<\/a> White Desert.<\/em> \u00a9 Museu Nacional d\u2019Art de Catalunya (2019) RIR: Campuzano, Pedragosa, Ramells <\/figcaption><\/figure>\n\n\n\nThe figure of the soldier can also be clearly seen in the X-ray taken of the canvas White Desert<\/em>.<\/p>\n\n\n\n![\"\u00a9](\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/desert-blanc-radiografia-1024x548.jpg\")
<\/a> \u00a9 Museu Nacional d\u2019Art de Catalunya, Barcelona (2019). X-Ray: Comella, Mart\u00ed, Masalles<\/figcaption><\/figure>\n\n\n\nHowever, not\nonly has the examination with infrared radiation served to corroborate the presence\nof the soldier, it has also allowed us to go further and identify an\ninscription to the right of the signature \u201cA. Fabr\u00e9s\u201d which reads: \u201cParis, en\n1870. \/ Centinela alerta! \/ (Guerra\nfrancoprusiana)\u201d. (Paris, in 1870. \/ Sentry Watch Out! \/ (Franco-Prussian War)\u201d.<\/p>\n\n\n\n![\"White](\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Antoni-Fabr\u00e9s-1024x365.jpg\")
<\/a>White Desert.<\/em> \u00a9 Museu Nacional d\u2019Art de Catalunya (2019). RIR: Campuzano, Pedragosa, Ramells<\/figcaption><\/figure>\n\n\n\nInitally, the\nartist most probably entitled the large-format work Sentry Watch Out!<\/em>And he\nnoted the date and the place in which the war was being fought. It had nothing\nto do with what would end up as a painting of a snow-covered landscape entitled\nWhite Desert<\/em>. <\/p>\n\n\n\nA war painting transformed into a landscape<\/h3>\n\n\n\n
With everything we have said so far the hypothesis is confirmed\nthat beneath the layers of paint in White\nDesert<\/em> there is hidden, in reality, the final, large-size version of the\npainting Dead Sentry<\/em>. The most\nlogical thing would have been for the Catalan painter to use a grid<\/a>\nto transfer the preparatory sketch to a larger-size canvas, but in the\nreflectogram this cannot be clearly seen. We only observe a few charcoal lines\naround the entire edge of the painting delimiting the composition. Once he had fitted\nin the drawing, the artist most likely erased the supposed grid. <\/p>\n\n\n\nIt should\nbe mentioned that this modus operandi<\/em>\nis repeated in other works by Fabr\u00e9s, in which the grid pattern can be observed.\nTo give an example, in the painting Female\nSlave For Sale<\/em>,owned by the\nDiputaci\u00f3 de Barcelona, the transparency of the paint layer leaves the grid pattern\nvisible; and in the oil painting The\nWarrior’s Rest<\/a>, the lines of the grid can be seen because\npart of the painting is unfinished. <\/p>\n\n\n\nAitor\nQuiney, the show\u2019s curator, writes in the catalogue<\/a> that, \u201cmany of Fabr\u00e9s\u2019 works have a title with a\ndouble meaning.<\/strong>\u201d But thanks to infrared reflectography we can see how, in\nthis case, the artist has also generated a double subject: he<\/strong> transforms a war painting\ninto a disturbing landscape.<\/strong> We do not know why he made this change but an\nold photograph of his last atelier in Rome shows us the canvas as we know it\ntoday.<\/p>\n\n\n\n![\"Photograph](\"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/\u00c0lbum-Antoni-Fabr\u00e9s-1024x821.jpg\")
<\/a>Photograph in album 4 <\/figcaption><\/figure>\n\n\n\nSeeing\nthis image, who would have suspected that beneath a white desert Fabr\u00e9s would\nbury a sentry in the French infantry, killed during the Franco-Prussian War of\n1870? <\/p>\n\n\n\n
N\u00faria Pedragosa, Carme Ramells and<\/h6>\n","protected":false},"excerpt":{"rendered":"
Mireia Campuzano, N\u00faria Pedragosa and Carme Ramells For the exhibition dedicated to the artist Antoni Fabr\u00e9s the painting White Desert has been studied with the infrared reflectography technique. This work was part of a conservation-restoration campaign carried out for this purpose. Studying the painting White Desert, by Antoni Fabr\u00e9s The painting, done in about 1901…<\/p>\n","protected":false},"author":51,"featured_media":17193,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1,42],"tags":[1064,975],"class_list":["post-17183","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-general","category-research","tag-reflectogram","tag-research-en","author-mireia-campuzano"],"jetpack_featured_media_url":"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Un-sentinella-a-sota-el-Desert-blanc-Antoni-fabr\u00e9s.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p4tWCI-4t9","_links":{"self":[{"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/posts\/17183","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/users\/51"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/comments?post=17183"}],"version-history":[{"count":4,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/posts\/17183\/revisions"}],"predecessor-version":[{"id":22268,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/posts\/17183\/revisions\/22268"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/media\/17193"}],"wp:attachment":[{"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/media?parent=17183"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/categories?post=17183"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/tags?post=17183"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
<\/a>Connections between Dead Sentry<\/em> and White Desert<\/em><\/h3>\n\n\n\nIn the drawings by Fabr\u00e9s conserved in the museum, and in the five albums in the Museu Nacional\u2019s Joaquim Folch i Torres Library and Archive<\/a>, relative to his painting work, no sketches directly related to this composition have been found. But we do see some images reproduced that are related to the paintings in question. In the first album there is a drawing showing a fallen figure that recalls the sentry, with the characteristic torsion of the arm and the palm of the hand facing upwards; and in the third album, there are landscapes reproduced with holm oaks, whose trunks are similar to our leaning tree. <\/p>\n\n\n\n<\/a>Drawing in album 1 by the artist <\/figcaption><\/figure>\n\n\n\nWith all\nthese clues it seems logical to think that an analysis with infrared reflectography<\/strong>, in which the underlying paint\nlayers are captured, might supply information\nabout the connection between the painting in the Museu Nacional and Dead Sentry<\/em>.<\/strong> It is a question of\nrevealing whether the canvas belonging to the artist\u2019s family might be the\npreparatory sketch for the large-size painting, kept in the museum. <\/p>\n\n\n\nReflectogram of White Desert<\/em><\/h3>\n\n\n\n<\/a>Taking the reflectogram of White Desert<\/em> <\/figcaption><\/figure>\n\n\n\nThe reflectogram (IR)<\/strong><\/a> of White<\/em> Desert <\/em>certainly does reveal the presence of a lying figure<\/strong>, in the same place and in the same position as the one in the painting Dead Sentry. <\/em>Thanks to the reference that this work gives us, it can be claimed that the figure revealed in the reflectogram is that of a dead soldier, with a rifle in front of him and a pack on his back, as can be seen in Dead Sentry. <\/em>He was most probably a soldier in the French infantry, given the red, white and blue colours of the uniform he is wearing in this painting.<\/p>\n\n\n\n<\/a> White Desert.<\/em> \u00a9 Museu Nacional d\u2019Art de Catalunya (2019) RIR: Campuzano, Pedragosa, Ramells <\/figcaption><\/figure>\n\n\n\nThe\nsoldier\u2019s foreshortened position undoubtedly recalls some drawingsby Mari\u00e0 Fortuny<\/a>, such as Dead\nMoroccan. Study for the picture ‘The Battle of Tetouan’<\/a>\nor Death of a\nRoman Soldier<\/a>. The\ninfrared reflectography technique is a\nsuitable tool for understanding how the sentry was done in White Desert<\/em>. Fabr\u00e9s used a\ntraditional method of working by which he sketched the outlines of the shapes\nwith fine lines of graphite or charcoal<\/strong>, like for example those of the\noutline of the hat and the top half of the backpack. Then, with the paintbrush,\nhe painted on top and constructed them, defining the details. <\/p>\n\n\n\n<\/a> White Desert.<\/em> \u00a9 Museu Nacional d\u2019Art de Catalunya (2019) RIR: Campuzano, Pedragosa, Ramells <\/figcaption><\/figure>\n\n\n\nThe figure of the soldier can also be clearly seen in the X-ray taken of the canvas White Desert<\/em>.<\/p>\n\n\n\n<\/a> \u00a9 Museu Nacional d\u2019Art de Catalunya, Barcelona (2019). X-Ray: Comella, Mart\u00ed, Masalles<\/figcaption><\/figure>\n\n\n\nHowever, not\nonly has the examination with infrared radiation served to corroborate the presence\nof the soldier, it has also allowed us to go further and identify an\ninscription to the right of the signature \u201cA. Fabr\u00e9s\u201d which reads: \u201cParis, en\n1870. \/ Centinela alerta! \/ (Guerra\nfrancoprusiana)\u201d. (Paris, in 1870. \/ Sentry Watch Out! \/ (Franco-Prussian War)\u201d.<\/p>\n\n\n\n<\/a>White Desert.<\/em> \u00a9 Museu Nacional d\u2019Art de Catalunya (2019). RIR: Campuzano, Pedragosa, Ramells<\/figcaption><\/figure>\n\n\n\nInitally, the\nartist most probably entitled the large-format work Sentry Watch Out!<\/em>And he\nnoted the date and the place in which the war was being fought. It had nothing\nto do with what would end up as a painting of a snow-covered landscape entitled\nWhite Desert<\/em>. <\/p>\n\n\n\nA war painting transformed into a landscape<\/h3>\n\n\n\n
With everything we have said so far the hypothesis is confirmed\nthat beneath the layers of paint in White\nDesert<\/em> there is hidden, in reality, the final, large-size version of the\npainting Dead Sentry<\/em>. The most\nlogical thing would have been for the Catalan painter to use a grid<\/a>\nto transfer the preparatory sketch to a larger-size canvas, but in the\nreflectogram this cannot be clearly seen. We only observe a few charcoal lines\naround the entire edge of the painting delimiting the composition. Once he had fitted\nin the drawing, the artist most likely erased the supposed grid. <\/p>\n\n\n\nIt should\nbe mentioned that this modus operandi<\/em>\nis repeated in other works by Fabr\u00e9s, in which the grid pattern can be observed.\nTo give an example, in the painting Female\nSlave For Sale<\/em>,owned by the\nDiputaci\u00f3 de Barcelona, the transparency of the paint layer leaves the grid pattern\nvisible; and in the oil painting The\nWarrior’s Rest<\/a>, the lines of the grid can be seen because\npart of the painting is unfinished. <\/p>\n\n\n\nAitor\nQuiney, the show\u2019s curator, writes in the catalogue<\/a> that, \u201cmany of Fabr\u00e9s\u2019 works have a title with a\ndouble meaning.<\/strong>\u201d But thanks to infrared reflectography we can see how, in\nthis case, the artist has also generated a double subject: he<\/strong> transforms a war painting\ninto a disturbing landscape.<\/strong> We do not know why he made this change but an\nold photograph of his last atelier in Rome shows us the canvas as we know it\ntoday.<\/p>\n\n\n\n<\/a>Photograph in album 4 <\/figcaption><\/figure>\n\n\n\nSeeing\nthis image, who would have suspected that beneath a white desert Fabr\u00e9s would\nbury a sentry in the French infantry, killed during the Franco-Prussian War of\n1870? <\/p>\n\n\n\n
N\u00faria Pedragosa, Carme Ramells and<\/h6>\n","protected":false},"excerpt":{"rendered":"
Mireia Campuzano, N\u00faria Pedragosa and Carme Ramells For the exhibition dedicated to the artist Antoni Fabr\u00e9s the painting White Desert has been studied with the infrared reflectography technique. This work was part of a conservation-restoration campaign carried out for this purpose. Studying the painting White Desert, by Antoni Fabr\u00e9s The painting, done in about 1901…<\/p>\n","protected":false},"author":51,"featured_media":17193,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1,42],"tags":[1064,975],"class_list":["post-17183","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-general","category-research","tag-reflectogram","tag-research-en","author-mireia-campuzano"],"jetpack_featured_media_url":"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Un-sentinella-a-sota-el-Desert-blanc-Antoni-fabr\u00e9s.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p4tWCI-4t9","_links":{"self":[{"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/posts\/17183","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/users\/51"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/comments?post=17183"}],"version-history":[{"count":4,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/posts\/17183\/revisions"}],"predecessor-version":[{"id":22268,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/posts\/17183\/revisions\/22268"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/media\/17193"}],"wp:attachment":[{"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/media?parent=17183"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/categories?post=17183"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/tags?post=17183"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
<\/a>With all\nthese clues it seems logical to think that an analysis with infrared reflectography<\/strong>, in which the underlying paint\nlayers are captured, might supply information\nabout the connection between the painting in the Museu Nacional and Dead Sentry<\/em>.<\/strong> It is a question of\nrevealing whether the canvas belonging to the artist\u2019s family might be the\npreparatory sketch for the large-size painting, kept in the museum. <\/p>\n\n\n\n The reflectogram (IR)<\/strong><\/a> of White<\/em> Desert <\/em>certainly does reveal the presence of a lying figure<\/strong>, in the same place and in the same position as the one in the painting Dead Sentry. <\/em>Thanks to the reference that this work gives us, it can be claimed that the figure revealed in the reflectogram is that of a dead soldier, with a rifle in front of him and a pack on his back, as can be seen in Dead Sentry. <\/em>He was most probably a soldier in the French infantry, given the red, white and blue colours of the uniform he is wearing in this painting.<\/p>\n\n\n\n The\nsoldier\u2019s foreshortened position undoubtedly recalls some drawingsby Mari\u00e0 Fortuny<\/a>, such as Dead\nMoroccan. Study for the picture ‘The Battle of Tetouan’<\/a>\nor Death of a\nRoman Soldier<\/a>. The\ninfrared reflectography technique is a\nsuitable tool for understanding how the sentry was done in White Desert<\/em>. Fabr\u00e9s used a\ntraditional method of working by which he sketched the outlines of the shapes\nwith fine lines of graphite or charcoal<\/strong>, like for example those of the\noutline of the hat and the top half of the backpack. Then, with the paintbrush,\nhe painted on top and constructed them, defining the details. <\/p>\n\n\n\n The figure of the soldier can also be clearly seen in the X-ray taken of the canvas White Desert<\/em>.<\/p>\n\n\n\n However, not\nonly has the examination with infrared radiation served to corroborate the presence\nof the soldier, it has also allowed us to go further and identify an\ninscription to the right of the signature \u201cA. Fabr\u00e9s\u201d which reads: \u201cParis, en\n1870. \/ Centinela alerta! \/ (Guerra\nfrancoprusiana)\u201d. (Paris, in 1870. \/ Sentry Watch Out! \/ (Franco-Prussian War)\u201d.<\/p>\n\n\n\n Initally, the\nartist most probably entitled the large-format work Sentry Watch Out!<\/em>And he\nnoted the date and the place in which the war was being fought. It had nothing\nto do with what would end up as a painting of a snow-covered landscape entitled\nWhite Desert<\/em>. <\/p>\n\n\n\n With everything we have said so far the hypothesis is confirmed\nthat beneath the layers of paint in White\nDesert<\/em> there is hidden, in reality, the final, large-size version of the\npainting Dead Sentry<\/em>. The most\nlogical thing would have been for the Catalan painter to use a grid<\/a>\nto transfer the preparatory sketch to a larger-size canvas, but in the\nreflectogram this cannot be clearly seen. We only observe a few charcoal lines\naround the entire edge of the painting delimiting the composition. Once he had fitted\nin the drawing, the artist most likely erased the supposed grid. <\/p>\n\n\n\n It should\nbe mentioned that this modus operandi<\/em>\nis repeated in other works by Fabr\u00e9s, in which the grid pattern can be observed.\nTo give an example, in the painting Female\nSlave For Sale<\/em>,owned by the\nDiputaci\u00f3 de Barcelona, the transparency of the paint layer leaves the grid pattern\nvisible; and in the oil painting The\nWarrior’s Rest<\/a>, the lines of the grid can be seen because\npart of the painting is unfinished. <\/p>\n\n\n\n Aitor\nQuiney, the show\u2019s curator, writes in the catalogue<\/a> that, \u201cmany of Fabr\u00e9s\u2019 works have a title with a\ndouble meaning.<\/strong>\u201d But thanks to infrared reflectography we can see how, in\nthis case, the artist has also generated a double subject: he<\/strong> transforms a war painting\ninto a disturbing landscape.<\/strong> We do not know why he made this change but an\nold photograph of his last atelier in Rome shows us the canvas as we know it\ntoday.<\/p>\n\n\n\n Seeing\nthis image, who would have suspected that beneath a white desert Fabr\u00e9s would\nbury a sentry in the French infantry, killed during the Franco-Prussian War of\n1870? <\/p>\n\n\n\n Mireia Campuzano, N\u00faria Pedragosa and Carme Ramells For the exhibition dedicated to the artist Antoni Fabr\u00e9s the painting White Desert has been studied with the infrared reflectography technique. This work was part of a conservation-restoration campaign carried out for this purpose. Studying the painting White Desert, by Antoni Fabr\u00e9s The painting, done in about 1901…<\/p>\n","protected":false},"author":51,"featured_media":17193,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1,42],"tags":[1064,975],"class_list":["post-17183","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-general","category-research","tag-reflectogram","tag-research-en","author-mireia-campuzano"],"jetpack_featured_media_url":"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Un-sentinella-a-sota-el-Desert-blanc-Antoni-fabr\u00e9s.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p4tWCI-4t9","_links":{"self":[{"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/posts\/17183","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/users\/51"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/comments?post=17183"}],"version-history":[{"count":4,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/posts\/17183\/revisions"}],"predecessor-version":[{"id":22268,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/posts\/17183\/revisions\/22268"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/media\/17193"}],"wp:attachment":[{"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/media?parent=17183"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/categories?post=17183"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/tags?post=17183"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Reflectogram of White Desert<\/em><\/h3>\n\n\n\n
<\/a><\/a><\/a><\/a><\/a>A war painting transformed into a landscape<\/h3>\n\n\n\n
<\/a>N\u00faria Pedragosa, Carme Ramells and<\/h6>\n","protected":false},"excerpt":{"rendered":"