DSpace Collection:http://hdl.handle.net/10174/294292024-03-29T15:55:55Z2024-03-29T15:55:55ZImages in transformation: The color and its change in a group of Portuguese paintings from the second half of the 16th centuryMelo, HelenaCruz, António JoãoSanyova, JanaValadas, SaraCardoso, Ana MargaridaCandeias, Antóniohttp://hdl.handle.net/10174/351892023-05-17T16:55:20Z2022-06-17T23:00:00ZTitle: Images in transformation: The color and its change in a group of Portuguese paintings from the second half of the 16th century
Authors: Melo, Helena; Cruz, António João; Sanyova, Jana; Valadas, Sara; Cardoso, Ana Margarida; Candeias, António
Abstract: Four 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 paintings, the investigation focused on the analysis ofmaterials, painting technique and degradation issues that further affected theoriginal paintings, changing the viewer's perception and understanding ofthese artworks. The investigation combined the visual examination of thepainting surface with microscopic and spectroscopic analysis of the binder andpigments. A conventional palette made of lead white, lead-tin yellow, ochres,vermilion, verdigris, smalt, azurite, carbon black and a red lake made of brazil-wood and cochineal was identified. The pigments were bound in an oil-basedmedium. Chemical and physical alterations detected in paints rich in smaltand verdigris were found to be responsible for color changes affecting signifi-cant areas of the compositions. The presence of moisture and the reactionbetween pigment and binder leading, among other products, to soap and oxa-late formation, played a central role in the long-term behavior of the paintfilm. Understanding the main degradation processes involved and their conse-quences is crucial when interpreting an artists' color palette and designing thebest approach to preserve these paintings.2022-06-17T23:00:00ZItalian Influence in a Portuguese Mannerist Painting (Part II): A Matter of Image or a Matter of Technique?Melo, Helena PinheiroCruz, António JoãoValadas, saraCardoso, Ana MargaridaHelvaci, Yiğit ZaferCandeias, Antóniohttp://hdl.handle.net/10174/351622023-05-17T15:54:52Z2022-09-08T23:00:00ZTitle: Italian Influence in a Portuguese Mannerist Painting (Part II): A Matter of Image or a Matter of Technique?
Authors: Melo, Helena Pinheiro; Cruz, António João; Valadas, sara; Cardoso, Ana Margarida; Helvaci, Yiğit Zafer; Candeias, António
Abstract: The 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 painting’s surface with complementaryimaging techniques and on the analysis of the materials from the preparatory layers withmicroscopic and spectroscopic techniques. The characterisation of the painting techniquerevealed an ingenious use of colour that is based on the understanding of the optical andhandling properties of oil paint. This knowledge is illustrated by the painter’s ability toexploit and combine a range of different oil painting techniques, such as glazing, scumbling,wet-in-wet, or wet-in-dry painting; by his formulation of a wide variety of pigment mixtures;and by his use of diverse and often complex layering systems - some quite unconventionalfor Portuguese painting practice. The material and technical originality of this paintingclearly reflects Nunes’international Roman experience and his desire to update thePortuguese mainstream practice of his time.2022-09-08T23:00:00ZCharcoal or black stone? Reconstructions as a tool to study the behaviour of dry underdrawing materials within the paint structure of sixteenth century panel paintingsMelo, Helena Pinheiro deValadas, SaraCruz, António JoãoCandeias, Antóniohttp://hdl.handle.net/10174/351612023-05-17T15:48:25Z2022-02-11T00:00:00ZTitle: Charcoal or black stone? Reconstructions as a tool to study the behaviour of dry underdrawing materials within the paint structure of sixteenth century panel paintings
Authors: Melo, Helena Pinheiro de; Valadas, Sara; Cruz, António João; Candeias, António
Abstract: Reconstructions were used as a tool to investigate the use of charcoal and black stone as underdrawing materials in
sixteenth century panel paintings with white or off-white preparatory layers. Research was based on the examination
of a group of sixteenth century panel paintings by the Portuguese Mannerist painter Francisco João (doc. 1558–1595)
and his workshop. Analysis of the original underdrawing material in cross-sections, using microscopic and spectroscopic
techniques was not always conclusive. Based on materials thought to be employed by Francisco João and on
data collected from sixteenth and seventeenth century European technical treatises along with published analytical
studies of panel paintings with white or off-white preparatory layers from this period, reconstructions were performed
using charcoal (untreated and oiled—as described in contemporary literature) and natural black stone over different
preparatory surfaces. Microscopic analyses of cross-sections from reconstructions were made to assist the discussion
of the behaviour of the dry underdrawing media within the paint structure. Results revealed that whereas charcoal
could be easily removed if drawn directly over gesso, it would remain fixed when drawn over a ground treated with
an oil-based intermediate layer, even when the latter was completely dry to the touch. The persistence of a charcoal
drawing when applied over oil challenged the widely disseminated assumption that naturally occurring black stone,
which makes a permanent mark, had been employed more frequently than charcoal since the latter appeared to be
easily disturbed and hence transitory. The very lengthy curing time for a drying oil could be responsible for fixing the
friable media. Reconstructions further showed that oiled charcoal is easily prepared and agreeable to use on any type
of surface, where it remains without smudging. Finally, research suggests that the painter’s choice of underdrawing
material is closely dependent on the nature of the binder of intermediate layers and on the position of the underdrawing
layout within the paint structure.2022-02-11T00:00:00Z