The spatial and chronological dimension of a Baroque painting is transformed into a contemporary experience where the audience will be invited to enter a foray of chiaro scuro; shedding some light will show how interpreting a painting can take on a whole new meaning.
The restoration of a painting often offers the opportunity to discover concealed details. Layer by layer the story unfolds, as hidden clues emerge and lead to new scenarios, prompting the enquiry into alternative interpretations.
To this effect, an exhibition on the restoration of the titular painting of the Martyrdom of St Catherine at Żejtun church will be held at St James Cavalier, in Valletta between May 2 and 31.
The painting, commonly known as the Żejtun painting, after the village it comes from, depicts the martyrdom of St Catherine, the young, beautiful and eloquent princess who became the patroness of philosophers and preachers. There has been a growing interest in the Żejtun painting over the past few decades and a number of attributions have been proposed. The opportunity to re-examine this work emerged in 2006 thanks to collaboration between SACI - Studio Art Centres International, Florence, Italy - and the Caravaggio Foundation.
Looking deeper beneath the surface has revealed an intriguing picture. Further technical investigation headed by Roberta Lapucci of Saci International indicates the possibility of an underlying preparatory sketch for a larger, more significant painting. The Żejtun painting disguises a far more powerful composition, hinting at the hand of a master beneath the layers, the studies have revealed.
The evidence suggests that the work was executed in three stages, by three different artists. An in-depth study reveals a number of clues to what lies within the different strata of the painting. The evidence converges to shed light on Caravaggio's hand as the first to work on the canvas. This may have just been a compositional sketch that was later abandoned by the master.
Visitors to the exhibition are free to question and give their own interpretations by experiencing the painting through an installation of light and shade. The restoration process is well documented in the publication available at the exhibition.