11 documents found, page 1 of 2
Analytical characterization of the palette and painting techniques of Jorge Afo...
Antunes, V; Candeias, A; Mirao, J; Carvalho, ML; Dias, CB; Manhita, A; Cardoso, A; Francisco, M; Lauw, A; Manso, MIn this work, a study on a set of paintings from the most significant altarpiece assigned to Master Jorge Afonso (c. 1470–1540) painting workshop is presented. This altarpiece is composed by fourteen paintings made to the church of Convento de Jesus, in Setúbal, Portugal, and was made circa 1517–19/1530, according to art-history. This set of paintings is compared to one of the other most important Portuguese al...
Preserving European paintings in Asian environment. The case of Goa Cathedral f...
Antunes, V; Candeias, A; Mirão, J; Carvalho, ML; Serrão, V; Dias, CB; Manhita, A; Reis, M; Manso, MHow to preserve a set of paintings made with European materials and taken to South Asia in the 16th century? A set of seven paintings belonging to the first altarpiece of Goa Cathedral now remain in its sacristy. Art history states that these paintings, assigned to the painter Garcia Fernandes, were produced in Lisbon circa 1530 and carried to Goa shortly after, Serrão (2011), Reis-Santos (1957). Presently, the...
A multidisciplinary approach to the study of the brightening effects of white c...
Antunes, V; Candeias, A; Coroado, J; Serrão, V; Cachão, M; Carvalho, MLThis paper employs various techniques to analyze the mixture of chalk and binder materials used, by Portuguese and Flemish painters in the 15th and 16th centuries, to enhance the reflection of light in paintings. The cases studied show evidence of the search by painters for light effects created when combining specific fillers and binders to obtain absorbent or non-absorbent ground layers in order to reflect su...
Characterization of glue sizing under calcium carbonate ground layers in Flemis...
Antunes, V; Oliveira, M; Vargas, H; Serrao, V; Candeias, A; Carvalho, ML; Coroado, J; Mirão, J; Dias, L; Longelin, S; Seruya, AIThis work regards the study of painting techniques in Portuguese workshops of the 15th and early 16th centuries, specifically addressing the methodology used on the preparation of ground layers. The influence of Flemish painting in Portugal is evident in stylistic and iconographic themes of that period. As regards the painting materials, we confirmed that this influence also extended to the ground layer techniq...
Characterization of Glue Sizing Layers in Portuguese Wood Paintings from the 15...
Antunes, V; Oliveira, MJ; Vargas, H; Candeias, A; Seruya, AI; Dias, L; Serrão, V; Coroado, JAccording to treatises on 15th and 16th century paintings, artists dedicated particular attention to the sizing layer—consisting mainly of animal glue applied onto the wood support before further application of the ground layer. The stability of a painting mainly depends on the presence of a very cohesive sizing layer. However, the study of these layers has not received special attention from researchers. In th...
Characterization of gypsum and anhydrite ground layers in 15th and 16th centuri...
Antunes, V; Candeias, A; Oliveira, ML; Longelin, S; Serrão, V; SEruya, AI; Coroado, J; Dias, L; Mirão, J; Carvalho, MLThe purpose of this work is to characterize Portuguese painting ground layers from the 15th and 16th centuries (1450–1600), focusing particularly on the Coimbra, Lisbon, and Viseu workshops. Calcium sulfate, used regularly in these layers is common in the Iberian Peninsula as a natural resource. Its use is now confirmed, as already studied in Spanish paintings, and it was prepared generally by addition of anima...
GREGÓRIO LOPES painting workshop: characterization by X-ray based techniques. A...
Antunes, V; Candeias, A; Oliveira, MJ; Manso, M; Seruya, AI; Coroado, J; Dias, L; Mirao, J; Longelin, S; Serrão, VGreg´orio Lopes is one of the most famous Portuguese painters of the 15th–16th centuries. This work is a contribution to the study of his painting technique, specifically addressing the methodology used in the preparation of ground layers, which has never been carried out previously with this multianalytical method. For this purpose characterization of the ground layers of a selection of his paintings was carri...
As Preparações na Pintura Portuguesa dos Séculos XV e XVI
Coroado, J; Antunes, V; Serrão, V; Oliveira, MJ; Dias, L; Candeias, A; Mirão, J; Carvalho, L; Seruya, AIStudies in ground layers of paintings on wooden support from XV and XVI centuries have shown based on SEM observations and elemental chemical identification by EDS performed on samples that had been taken from plaster preparations layers, that the common presence of strontium is a strontium sulfate (celestine). In this context, some questions have been asked, either related by the origin of celestine, particula...
As Preparações na Pintura Portuguesa dos Séculos XV e XVI
Antunes, V; Serrão, V; Oliveira, MJ; Candeias, A; Mirão, J; Coroado, J; Carvalho, ML; Seruya, AIThe presentation Techniques and preparation materials in Portuguese painting of the fifteenth and sixteenth centuries is part of the integrated study of our PhD program, under the same title. The multianalitical methodology defined in this program, was possible through support of the project The invisible ground layer and its influence in portuguese paintings of the 15th and 16th centuries: a question to be set...
Considerações técnicas, materiais e artísticas sobre o retábulo da Misericórdia...
Serrao, V; Antunes, V; Oliveira, M; Dias, L; Costa, S; Piorro, L; Candeias, A; Mirão, J; Coroado, J; Carvalho, ML; Seruya, AIGiraldo Fernandes de Prado (about 1530-1592) was a treaty writer, painter of fresco and altarpieces, illuminator, calligrapher and knight educated and serving the Bragança Ducal court. To this painter, with strong Italian education, is due the first treatise of calligraphy in Portugal -- the Tratado de Letra Latina (1560-1561), now in the Columbia University, New York. In 1590-1591 Francisco de Andrada and Manu...