Rubens' Venus and Cupido Restored at Thyssen-Bornemisza

The Museo Nacional Thyssen-Bornemisza in Madrid presents a special display in room 19 of its permanent collection, running until September 13, dedicated to the restoration and technical study of Rubens' Venus and Cupido (ca. 1606–1611). The 18-month project removed aged, yellowed varnish that had distorted color balance and perspective, and stabilized craquelure and paint losses. Infrared reflectography revealed a clean underdrawing, confirming the composition as a copy after Titian, with minor changes such as Venus' gaze in the mirror and Cupid's foot position. X-radiography showed good conservation, with tears in the central area likely from an earlier relining, and a refined technique with thick oil impasto on figures and a sketchy background. Analysis identified a calcium carbonate ground, a gray imprimatura of lead white, calcium carbonate, and charcoal, and a final varnish of colophony and beeswax. The French Régence frame, later than the painting, was also restored. Interactive digital resources and an audiovisual projection explain the process.