DUBLIN.- The National Gallery of Ireland and the Mauritshuis in The Hague, the Netherlands, are set to embark on a collaborative new conservation project, delving into the world of Dutch artist Paulus Potter (1625-1654).

Potter’s lesser-known work Head of a White Bull (c. 1650), in the Gallery’s collection, will be researched by a multidisciplinary team of conservators, curators and scientists. It will be studied alongside the iconic The Bull (De Stier, 1647) in the Mauritshuis’s collection.

Visitors to the Mauritshuis will be able to follow in person the multi-analytical examination of De Stier and Head of a White Bull. The subsequent results will go on to inform a major restoration of The Bull in front of the public at the Mauritshuis over the next two years.

Preliminary research into Head of a White Bull has revealed that it is a fragment of a large painting by Potter that once depicted The Abduction of Europa. Remarkably, parts of this scene are beneath the painting’s surface, and can be detected using scientific imaging. This discovery has provided a unique window into Potter’s artistic choices and a rare engagement with a mythological subject.

The next steps of the research hope to reveal new information about Potter’s artistic techniques in addition to solving the puzzle of how and why the Dublin work has transformed over the centuries from a large-scale mythological scene to a head of a garlanded white bull. It will shed light on Potter's artistic process and create a dynamic platform for advancing the understanding of art by unveiling the intricacies of a hitherto unknown masterpiece. Existing material-technical research of The Bull will be studied against analysis of Head of a White Bull. This international collaboration will give the public a glimpse into the importance of collection care and technical art historical research.

Scientific investigation on both Head of a White Bull and The Bull will be led by an expert team of specialists from the National Gallery of Ireland and the Mauritshuis, using technologies to study the paintings beneath their surfaces in unprecedented detail.

This project showcases the value of international collaboration in advancing art research. Audiences can expect different offerings on one of the most important Dutch artists of the 17th century, including behind the scenes glimpses of the conservation treatment process, and learning about how fundamental scientific research can inform art in the national collection.

The results of this project as it progresses will be available to view on the gallery’s social media channels and through a study day – details of which are yet to be announced.

Dr Caroline Campbell, Director of the National Gallery of Ireland, said: “To be able to bring our visitors with us on such a fascinating journey is an exciting endeavour for the entire team at the National Gallery of Ireland. It is terrific to work with our peers in the Mauritshuis in such an innovative way. We hope that this important conservation and scientific work will unearth new stories for us to tell and allow people to engage with their national collection in new ways.”

Muirne Lydon, Paintings Conservator at the National Gallery of Ireland, commented: “Conservation presents ways of seeing and re-seeing work of art. Researching and analysing the layered history of works of art is set to become one of the most defining areas of research within Conservation. The fascinating combination of archival research, and the examination of paintings together with the most advanced scientific methods available will allow us to discover much more about Potter’s technical art history than we ever thought possible.”

Jolijn Schilder, Paintings Conservator at the Mauritshuis, added: “Through our extensive research, we hope to discover more about Paulus Potter’s painting technique, which make us feel like we are looking over his shoulder.”