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3 words make her your bang buddy
daemon@ATHENA.MIT.EDU (Shandra)
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Date: Tue, 8 Jul 2025 10:19:47 +0200
From: "Shandra" <Shandra@abhishek.ru.com>
Reply-To: "Shandra" <Eric@abhishek.ru.com>
Subject: 3 words make her your bang buddy
To: <sipb-afsreq-mtg@charon.mit.edu>
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3 words make her your bang buddy
http://abhishek.ru.com/DhRsSs2i2D4YlgNKsTLEMymabwCCzg_0K5o-9YnpSxOmlLQy_g
http://abhishek.ru.com/SdJKYjbABQ4qQsKJykJsAKfd5UEQuiIqVILIai4Dt_GJeTzSiA
e artist's widow, wrote a letter of complaint regarding the "fancy red light" that had falsified the painting's intended tones.
The painting's backing was reinforced with plywood by H. Stevenson in 1915. This was replaced in 1940 by Hannah Mee Horner, who glued the painting to a plywood backing. Within two decades, this backing began to warp and threatened to tear the painting in half.
In 1961, at the request of Jefferson Medical College, the Philadelphia Museum of Art (PMA) undertook another restoration, under conservator Theodor Siegl. Mark Tucker, a later PMA conservator, described the work as "a rescue mission... They were saving the painting from tearing itself in half. These were the nail heads that were starting to work forward into the canvas and show as bumps on the front... Yeah. It was just hair-raising." Siegl used a power plane to remove the plywood down to the last, thin ply. The rest of the wood and the tenacious glue were painstakingly removed by hand. Siegl and his colleagues also restored, to some extent, the faces in the upper right of the canvas.
In 2009, in response to long term concerns regarding inconsistencies in the painting's disposition of darkness and light, conservators at the Philadelphia Museum of Art undertook restoration of The Gross Clinic from July 2009 to July 2010, during which time the painting was not publicly visible. The restoration sought to revert changes that had been made by the Jefferson Medical College during the 1917 restoration. Definition of parts, including Eakins' self-portrayal, was restored, using as reference an ink wash copy of the painting made by the artist, as well as a photograph taken by the Metropolitan Museum of Art previous to the Medical Colle
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<div style="color:#FFFFFF;font-size:8px;">e artist's widow, wrote a letter of complaint regarding the "fancy red light" that had falsified the painting's intended tones. The painting's backing was reinforced with plywood by H. Stevenson in 1915. This was replaced in 1940 by Hannah Mee Horner, who glued the painting to a plywood backing. Within two decades, this backing began to warp and threatened to tear the painting in half. In 1961, at the request of Jefferson Medical College, the Philadelphia Museum of Art (PMA) undertook another restoration, under conservator Theodor Siegl. Mark Tucker, a later PMA conservator, described the work as "a rescue mission... They were saving the painting from tearing itself in half. These were the nail heads that were starting to work forward into the canvas and show as bumps on the front... Yeah. It was just hair-raising." Siegl used a power plane to remove the plywood down to the last, thin ply. The rest of the wood and the tenacious glue were painstakingly removed by hand. Siegl and his colleagues also restored, to some extent, the faces in the upper right of the canvas. In 2009, in response to long term concerns regarding inconsistencies in the painting's disposition of darkness and light, conservators at the Philadelphia Museum of Art undertook restoration of The Gross Clinic from July 2009 to July 2010, during which time the painting was not publicly visible. The restoration sought to revert changes that had been made by the Jefferson Medical College during the 1917 restoration. Definition of parts, including Eakins' self-portrayal, was restored, using as reference an ink wash copy of the painting made by the artist, as well as a photograph taken by the Metropolitan Museum of Art previous to the Medical Colle</div>
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