Miguel Ángel León Coloma | Universidad de Jaén (original) (raw)
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Papers by Miguel Ángel León Coloma
Ricerche Di Storia Dell Arte, 2018
Granada tolle, lege = "Granada toma y lee": [exposición], 2009, ISBN 978-84-7170-232-6, págs. 145-180, 2009
Ubeda Desconocida Los Tesoros De La Clausura Monasterio De La Limpia Concepcion De Ubeda Carmelitas Descalzas 2012 Isbn 978 84 939986 2 2 Pags 81 109, 2012
El Reino De Granada Y El Nuevo Mundo V Congreso Internacional De Historia De America Mayo De 1992 Vol 2 1994 Isbn 84 7807 110 5 Pags 377 410, 1994
El Comportamiento De Las Catedrales Espanolas Del Barroco a Los Historicismos 2003 Isbn 84 933254 3 0 Pags 327 342, 2003
La huella de los jesuitas en Granada: del Colegio de San Pablo a la Facultad de Teología, 2014, ISBN 978-84-85653-70-6, págs. 153-208, 2014
Granada tolle, lege = "Granada toma y lee": [exposición], 2009, ISBN 978-84-7170-232-6, págs. 231-264, 2009
Granada tolle, lege / Granada, toma y lee, 2009
Francisco Javier Martínez Medina, Miguel Ángel León Coloma y Rodolfo V. Pérez Velázquez (eds)
Granada tolle, lege / Granada, toma y lee, 2009
XVIII Congreso Internacional Conservación y Restauración de Bienes Culturales, 2011
Línea de trabajo: Bienes culturales muebles (pintura de caballete, pintura mural, escultura, docu... more Línea de trabajo: Bienes culturales muebles (pintura de caballete, pintura mural, escultura, documento gráfico, materiales contemporáneos….) Preferencia Oral o Póster: ORAL Introducción Damos a conocer una escultura inédita, de gran calidad, adscribible al ambiente artístico granadino de la primera mitad del siglo XVII. Se trata de una Virgen con el Niño, imagen titular
PREPRINTS 17TH INTERNATIONAL MEETING ON HERITAGE CONSERVATION , 2008
International Journal of Development Research, 2017
Identifying and characterising the pigments forming part of a work of art is particularly relevan... more Identifying and characterising the pigments forming part of a work of art is particularly relevant for the chronological authentication of a painting, as well as knowledge of the great masters artistic resources, which could result in the work being catalogued. The aim of this research is to morphologically characterise and differentiate two black pigments of an organic nature, which are intrinsically mixed together and compacted by a binder. These pigments are part of a black monochrome painting on alabaster by Francisco de Goya. The observation with SEM and EDX microanalysis have allowed to identify and morphologically differentiate these two pigments: vegetable black or vine black and carbon black (lamp black). Thus, in the case of vine black pigment, polygonal forms were observed that may indicate the rigid walls characteristic of vegetable cells. Lamp black pigment can be associated withsmall spherical structures, apparently homogeneous, which appear along with the polygonal vine black forms. We have suggested that Goya mixed these two pigments to obtain a more stable pictorial mixture provided by the black vine pigment and a darker color by the lamp black pigment. The two black pigments that were identified are bound together by a mixture of linseed oil and egg, denoting a tempera grassa painting technique. Highlights This study is based on a painting done on a translucent alabaster plate. Alabaster is a little used material as support in paintings, although it has been very used in sculptures, altarpieces and covers. This painting reproduced an original pictorial composition by Goya, using only the colour black. This innovative study proposes the morphological differentiation of vine black and lamp black pigments. Both pigments are mixed and bound together forming a single colour. The morphological differentiation of vine black and lamp black pigments has been undertaken based on original paint samples from an 18th century painting by Francisco de Goya Via SEM-EDX it has been possible to morphologically differentiate vine black and lamp black pigments based on the cellular structure of the former and the amorphous structure of the latter.
Ricerche di storia dell’arte, , 2018
Ricerche Di Storia Dell Arte, 2018
Granada tolle, lege = "Granada toma y lee": [exposición], 2009, ISBN 978-84-7170-232-6, págs. 145-180, 2009
Ubeda Desconocida Los Tesoros De La Clausura Monasterio De La Limpia Concepcion De Ubeda Carmelitas Descalzas 2012 Isbn 978 84 939986 2 2 Pags 81 109, 2012
El Reino De Granada Y El Nuevo Mundo V Congreso Internacional De Historia De America Mayo De 1992 Vol 2 1994 Isbn 84 7807 110 5 Pags 377 410, 1994
El Comportamiento De Las Catedrales Espanolas Del Barroco a Los Historicismos 2003 Isbn 84 933254 3 0 Pags 327 342, 2003
La huella de los jesuitas en Granada: del Colegio de San Pablo a la Facultad de Teología, 2014, ISBN 978-84-85653-70-6, págs. 153-208, 2014
Granada tolle, lege = "Granada toma y lee": [exposición], 2009, ISBN 978-84-7170-232-6, págs. 231-264, 2009
Granada tolle, lege / Granada, toma y lee, 2009
Francisco Javier Martínez Medina, Miguel Ángel León Coloma y Rodolfo V. Pérez Velázquez (eds)
Granada tolle, lege / Granada, toma y lee, 2009
XVIII Congreso Internacional Conservación y Restauración de Bienes Culturales, 2011
Línea de trabajo: Bienes culturales muebles (pintura de caballete, pintura mural, escultura, docu... more Línea de trabajo: Bienes culturales muebles (pintura de caballete, pintura mural, escultura, documento gráfico, materiales contemporáneos….) Preferencia Oral o Póster: ORAL Introducción Damos a conocer una escultura inédita, de gran calidad, adscribible al ambiente artístico granadino de la primera mitad del siglo XVII. Se trata de una Virgen con el Niño, imagen titular
PREPRINTS 17TH INTERNATIONAL MEETING ON HERITAGE CONSERVATION , 2008
International Journal of Development Research, 2017
Identifying and characterising the pigments forming part of a work of art is particularly relevan... more Identifying and characterising the pigments forming part of a work of art is particularly relevant for the chronological authentication of a painting, as well as knowledge of the great masters artistic resources, which could result in the work being catalogued. The aim of this research is to morphologically characterise and differentiate two black pigments of an organic nature, which are intrinsically mixed together and compacted by a binder. These pigments are part of a black monochrome painting on alabaster by Francisco de Goya. The observation with SEM and EDX microanalysis have allowed to identify and morphologically differentiate these two pigments: vegetable black or vine black and carbon black (lamp black). Thus, in the case of vine black pigment, polygonal forms were observed that may indicate the rigid walls characteristic of vegetable cells. Lamp black pigment can be associated withsmall spherical structures, apparently homogeneous, which appear along with the polygonal vine black forms. We have suggested that Goya mixed these two pigments to obtain a more stable pictorial mixture provided by the black vine pigment and a darker color by the lamp black pigment. The two black pigments that were identified are bound together by a mixture of linseed oil and egg, denoting a tempera grassa painting technique. Highlights This study is based on a painting done on a translucent alabaster plate. Alabaster is a little used material as support in paintings, although it has been very used in sculptures, altarpieces and covers. This painting reproduced an original pictorial composition by Goya, using only the colour black. This innovative study proposes the morphological differentiation of vine black and lamp black pigments. Both pigments are mixed and bound together forming a single colour. The morphological differentiation of vine black and lamp black pigments has been undertaken based on original paint samples from an 18th century painting by Francisco de Goya Via SEM-EDX it has been possible to morphologically differentiate vine black and lamp black pigments based on the cellular structure of the former and the amorphous structure of the latter.
Ricerche di storia dell’arte, , 2018