Inspired by yesterday's intriguing contribution from deltiologist Ms Artemisia Spinster regarding the self portrait by Enriqué "Autoretrato con la Revista", would-be amateur sleuth and former Threadbone Digital Laboratories technologist - Effigies Denudator - has undertaken further researches into the painting and now shares her thoughts on the matter with other interested readers. Ms Denudator is better known as the crime writer Quirinus Remus whose latest novel Murder on the Appian Way will be available in December from Threadbone Crimeshelf.
The Dark Room
2am Wednesday 27 June 2018
In was intrigued by yesterday's posting by Ms Artemisia Spinster and, as a fellow Enriqué enthusiast - such strength, such definition, such attitude! [certainment les mots très justes!!] - have ofter found myself pondering exactly "what lies beneath". Until recently this was merely an unhealthy psychotic obsession but, with the invention of new digital techniques (which I myself helped develop whilst in the employ of Threadbone Digital Laboratories Inc) I came to realise that "flipping the cover" so to speak was now a realistically achievable objective. Deployment of post synchronic chromic lateral denudation™ methods was without question fully capable of revealing what until now only my imagination had envisaged! Imagine my excitement!
I believe that my work in this field represents the first ever deployment of post synchronic chromic lateral denudation (in effect high precision digital scratching) on a portrait; use of this hugely expensive technique having been confined thus far to security-related subjects in the waste disposal industry.
Readers wishing to view my discoveries are welcome to do so by clicking on the link below but before doing so should complete the consent form. Terms and conditions apply. Please note clickers should be over 18 and click at their own risk.
To view the Post synchronic chromic lateral denudation click HERE
Ms Pamela Baden-Trowell author of Paintings by Enriqué, [Threadbone ARTs, The Threadbone Press (2017)] has also written it to clarify issues relating to the date of "Autoretrato con la Revista" which it has been suggested was "almost certainly not painted in 1996".
She writes: "Since completing my definitive study of the work of artist and ex-Spanish boy scout Enriqué de los Chicos Perdidos Paintings by Enriqué, [Threadbone ARTs, The Threadbone Press (2017)], I have been hard at work "tying loose ends". Perhaps the loosest of these (most loose? [ed]) is that relating to the date. I was immediately convinced that 1996 could not be right. Comparison of the painting with datable photographs, unease about the musculature and the age of the subject implied by its palpable strength and definition as well as a number of enigmatic conversations with the artist led me to believe that it was of a later date - possibly as late as 2014. However, it was only when I borrowed my husband's magnifying glass (he had fallen asleep over the Litton Cheney Weekly Advertiser Prize Crossword (perhaps as the result of an anti-nocturnal urge powder I had administered via his after-dinner Milo)) that I chanced to look properly at the Magazine held by the portrait's subject. Imagine my astonishment to find it was a 2016 edition*. QED I'd say and a kick in the c****h to the art historian naysayers!
* 2016 British edition [ed]