22 documents found, page 1 of 3
Tracing literacy in Roman Conimbriga: insights from the metallurgy and ink of a...
Oliveira, César; Bottaini, Carlo; Kaal, Joeri; Back, João; Candeias, António; Pereira, António; Miguel, Catarina; Cardoso, Ana Margarida; Perpétuo, JoãoThis study presents a comprehensive investigation of a Roman metallic inkwell, identified as a Biebrich type typical of the first half of the 1st century CE, which was unearthed in the ancient town of Conimbriga, Portugal and remarkably preserved residues of its original ink. A multi-analytical methodology was employed to characterise both the alloy used in the inkwell production and the type of ink, integratin...
Science Applied to Modern Mural Painting Studies. Traditional Pigments and Inno...
Gil, Milene; Costa, Mafalda; Valadas, Sara; Cardoso, Ana Margarida; Helvaci, Yigit Zafer; Bhattacharya, Sriradha; Candeias, AntónioThis chapter reports the analytical study carried out on Almada Negreiros’ two working palettes in the public hall of the DN Building in 1939. Both palettes were hidden behind wooden cabinets and discovered in 1991 during conservation works. The first study carried out in 2021 focused on the identification of cadmium pigments. In phase 2, the goal was to extend the research to other colour materials to ascertai...
Italian Influence in a Portuguese Mannerist Painting (Part I): A New Palette wi...
P. Melo, Helena; Valadas, Sara; Cruz, António João; Cardoso, Ana Margarida; Miguel, Catarina; Manhita, Ana; Helvaci, Yiğit ZaferThe palette used by the Portuguese painter Pedro Nunes (1586–1637) in the large panel depicting The Descent from the Cross (460 × 304 cm) painted in 1620 for Évora’s cathedral was investigated with a combination of the visual inspection of the paint surface and the analysis of the paint layers with microscopic, spectroscopic, and chromatographic techniques. Green earth and an orange artificial arsenic sulphide,...
Italian Influence in a Portuguese Mannerist Painting (Part II): A Matter of Ima...
Melo, Helena Pinheiro de; Cruz, António João; Valadas, Sara; Cardoso, Ana Margarida; Helvaci, Yigit Zafer; Candeias, AntónioThe panel depicting The Descent from the Cross, painted in 1620 by the Portuguese artist Pedro Nunes (1586-1637), shows a clear Italian formal influence. The painter’s colour palette was identified in another paper. The panel is now investigated from a technical perspective, discussing aspects related to the support, preparatory system, and paint layer build-up. The research is based on the visual inspection of...
Italian Influence in a Portuguese Mannerist Painting (Part I): A New Palette wi...
Melo, Helena Pinheiro de; Valadas, Sara; Cruz, António João; Cardoso, Ana Margarida; Miguel, Catarina; Manhita, Ana; Helvaci, Yigit ZaferThe palette used by the Portuguese painter Pedro Nunes (1586–1637) in the large panel depicting The Descent from the Cross (460 × 304 cm) painted in 1620 for Évora’s cathedral was investigated with a combination of the visual inspection of the paint surface and the analysis of the paint layers with microscopic, spectroscopic, and chromatographic techniques. Green earth and an orange artificial arsenic sulphide,...
Italian Influence in a Portuguese Mannerist Painting (Part I): A New Palette wi...
Melo, Helena P.; Valadas, Sara; Cruz, António João; Cardoso, Ana Margarida; Miguel, Catarina; Manhita, Ana; Helvaci, Yiğit ZaferThe palette used by the Portuguese painter Pedro Nunes (1586–1637) in the large panel depicting The Descent from the Cross (460 × 304 cm) painted in 1620 for Évora’s cathedral was investigated with a combination of the visual inspection of the paint surface and the analysis of the paint layers with microscopic, spectroscopic, and chromatographic techniques. Green earth and an orange artificial arsenic sulphide,...
Edvard Munch’s Collection of Drawing Materials: Crayon Characterization
Cardoso, Ana Margarida; Sandu, Irina Crina Anca; Sandbakken, Erika; Manhita, Ana; Valadas, Sara; Barrocas Dias, Cristina; Candeias, AntónioThis paper contains an interpretation of the results obtained from Fourier Transform Infrared micro-spectroscopy (µ-FTIR) and Pyrolysis - Gas Chromatography coupled with Mass Spectrometry (Py-GC-MS) techniques applied on the crayons used by Edvard Munch (1863-1944) and now stored at the Munch Museum (MUNCH). Around 100 of different brands from Edvard Munch’s collection of reference materials available at the Mu...
Images in transformation: The color and its change in a group of Portuguese pai...
Melo, Helena; Cruz, António João; Sanyova, Jana; Valadas, Sara; Cardoso, Ana Margarida; Candeias, AntónioFour panel paintings depicting episodes related to the birth of Christ andattributed to the Portuguese mannerist painter Francisco Jo ̃ao (doc. 1558–1585) were found to exhibit a muted palette that had no correspondence withthe traditionally vivid colors used in the sixteenth century to represent joyfulbiblical events. Complementing previous research on the disruption and lossof the red glazes in these painting...
Italian Influence in a Portuguese Mannerist Painting (Part II): A Matter of Ima...
Melo, Helena Pinheiro; Cruz, António João; Valadas, sara; Cardoso, Ana Margarida; Helvaci, Yiğit Zafer; Candeias, AntónioThe panel depictingThe Descent from the Cross, painted in 1620 by the Portuguese artist PedroNunes (1586-1637), shows a clear Italian formal influence. The painter’s colour palette wasidentified in another paper. The panel is now investigated from a technical perspective,discussing aspects related to the support, preparatory system, and paint layer build-up. Theresearch is based on the visual inspection of the ...
Beyond Technology: Pottery Reveals Translocal Social Relations at a Bell Beaker...
Schiavon, Nicola; Gaspar, Adam; Petrik, Jan; Fojtik, Pavel; Tsoupra, Anna; MIR-MAKHAMAD, Basira; Cardoso, Ana Margarida; Mirao, José; Beltrame, MassimoThe Bell Beaker site near Brodek u Prostejova (Czechia) has yielded remains of a large timber construction accompanied by four symmetrical ritual deposits with numerous artefacts, including more than fifty ceramic vessels. Their decoration consists of incised patterns, in nineteen cases with preserved white inlaid incrustations. To investigate the social relations at this extraordinary site, a multi-analytical ...