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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 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,...
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 ...