Autor(es):
Antunes, Vanessa ; Candeias, António ; Mirão, José ; Valadas, Sara ; Cardoso, Ana ; Francisco, Maria José ; Lauw, Alexandra ; Manso, Marta ; Carvalho, Maria Luísa
Data: 2025
Identificador Persistente: http://hdl.handle.net/10362/187207
Origem: Repositório Institucional da UNL
Projeto/bolsa:
info:eu-repo/grantAgreement/FCT/OE/PD%2FBD%2F52694%2F2014/PT;
info:eu-repo/grantAgreement/FCT/CEEC INST 2018/CEECINST%2F00102%2F2018%2FCP1567%2FCT0038/PT;
info:eu-repo/grantAgreement/FCT/6817 - DCRRNI ID/UIDB%2F04559%2F2020/PT;
info:eu-repo/grantAgreement/FCT/6817 - DCRRNI ID/UIDP%2F04559%2F2020/PT;
info:eu-repo/grantAgreement/FCT/6817 - DCRRNI ID/UID%2FMulti%2F04449%2F2013/PT;
info:eu-repo/grantAgreement/FCT/Financiamento do Plano Estratégico de Unidades de I&D - 2013%2F2015 - OE/UID%2FAGR%2F00239%2F2013/PT;
Assunto(s): Analytical techniques; Drawing; Flemish painting; Painting technique; Portuguese painting; Conservation; Archaeology; Materials Science (miscellaneous)
Descrição
Funding Information: Fundação para a Ciência e Tecnologia for financial support through PhD Grant PD/BD/52694/2014 (Doctoral Program SUSFOR—Sustainable Forests and Products) and CEEC INST 2018 (DOI: 10.54499/CEECINST/00102/2018/CP1567/CT0038). This work was further supported by research center grant UIDB&DP/04559/2020 (DOI: 10.54499/UIDB/04559/2020; 10.54499/UIDP/04559/2020) awarded to LIBPhys-UNL from FCT/MCTES/PIDDAC, and by grant UID/Multi/04449/2013 to HERCULES. Centro de Estudos Florestais is funded by Fundação para a Ciência e a Tecnologia I.P. (FCT) under UID/AGR/00239/2013. Publisher Copyright: © 2025 by the authors.
This study offers fresh insights into the technical and stylistic exchanges between Flemish and Portuguese panel painting during the late 15th and early 16th centuries. By comparing two contemporaneous works, we trace Flemish influence in Portugal through a detailed materials and techniques analysis. Non-invasive, in situ methods—including energy dispersive X-ray fluorescence (XRF), macro-photography (MP), infrared reflectography (IRR), and dendrochronology—were used to examine each painting’s wooden support, ground layer, underdrawing, and pigment stratigraphy. Select micro-sampling analyses—micro-Fourier-transform infrared spectroscopy (μ-FTIR), scanning electron microscopy with energy dispersive spectroscopy (SEM-EDS), and micro-Raman spectroscopy (µ-Raman)—provided complementary data on binder and pigment composition. While both paintings share nearly identical pigments and layering sequences and employ comparable coating techniques, their ground compositions differ subtly. Notably, the Flemish work features extensive gold-leaf application, whereas underdrawing execution takes on principal importance in the Portuguese example. Together, these findings reveal that Jorge Afonso’s workshop developed a distinct Portuguese method—rooted in Flemish practices disseminated by Quentin Metsys—yet adapted to local materials and aesthetic priorities.
