I'm sorry but that's not at all the way in restoration.
If a fragment of a painting is missing, the fragment will only be restored if the restorer is absolutely sure that it is in accordance with what was there before. On a case by case basis, for example if it is missing a neutral area on the edge or part of a landscape (sky for example), then the restorer can mimic the near sides of the defective or missing area to achieve the unitary image.Otherwise, if a piece is missing a larger and complex fragment (characters, scenes, etc.) then of course the restorer will never "invent" new painting fragments.However, the restorer can integrate the lacunary area in a neutral tone (which dominate that painting area) in order not to create a "gap" into the work unit such as if the defective area would have been left white.
Another accepted case would be if: there are stored images of the original fragment (photographs , reproductions, etc.) - a witness said otherwise -, that can be used in the restoration process.
As for the differentiation of the retouch and original painting, that's a basic condition of the restoration process.Though here we face different approaches, depending on the different school of arts and restoration:
- For the tempera painting there are used two chromatic integration techniques: tratteggio (with dashes) or ritocco (with points) through which the retouch is obvious, for any informed and approved eye, within small distance, and it gets lost if you look further.
- For the oil painting, the above techniques are rarely used, because the retouch is often punctually (in small and many areas), but it is used an imitative technique, but even in this case the condition of readability of chromatic integration is achieved because the restored areas become obvious if you put the work in the UV light.
So you can't consider restoring produces any forgery or alteration or does not take into account the historical aspect or value. THE VALUE OF A HISTORICAL PAINTING WILL NOT AT ALL DEPRECIATE AFTER A RESTORATION.
This is exactly what happens with arts and this is what happens to restored watches ! For those willing to accept, of course...
I do not want to debate more on restoration unless someone has different SCIENTIFIC and SOLID ARGUMENTS...
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