International Journal of Conservation Science Scientific Study of an 18 TH Century Portuguese Painting on Canvas and Their Old Restoration: Problems of Date and Authenticity of the Current Image (original) (raw)
Related papers
2014
A Portuguese painting of the 18 century, from the collection of the National Library of Portugal, restored in 1864, was studied with the aim of better understanding the practice of restoration in Portugal in the late 19 and early 20 centuries. Initial observations suggested that it had been subjected to significant changes, due to the existence of an extensive decorative bar at the bottom of the painting and an inscription with calligraphy that seemed to suggest being of the 19 century. However, the scientific study carried out with the use of a set of analytical techniques leads to the conclusion that, essentially, the current image is consistent with the original image, although a thick layer of varnish and several localized repaints were observed. However, the inscription does not seem to be original.
International Journal of Conservation Science, 2014
A Portuguese painting of the 18th century, from the collection of the National Library of Portugal, restored in 1864, was studied with the aim of better understanding the practice of restoration in Portugal in the late 19th and early 20th centuries. Initial observations suggested that it had been subjected to significant changes, due to the existence of an extensive decorative bar at the bottom of the painting and an inscription with calligraphy that seemed to suggest being of the 19th century. However, the scientific study carried out with the use of a set of analytical techniques leads to the conclusion that, essentially, the current image is consistent with the original image, although a thick layer of varnish and several localized repaints were observed. However, the inscription does not seem to be original.
2012
There are in the National Library of Portugal (BNP) about fifty paintings from former convents, mainly portraits executed between the sixteenth and nineteenth centuries, which are hung in rooms and along corridors, far from the eyes of the public and simultaneously protected by recent conservation and restoration interventions. These paintings, of little artistic interest, are, however, individual cases for the study of conservation and restoration interventions made in the nineteenth century. The data obtained will contribute to the history of paintings restoration, in terms of its practical aspects (about materials and techniques used), that is still to be written in Portugal. Our research, which began in January 2011 and is predicted to end in December 2013, has been oriented by three complementary lines of action, with an interdisciplinary methodological base: the exploitation of the BNP's precious and unpublished documental archive; the assessment to the conservation status of the paintings and identification of restoration works; and the material study of the works, from physical and chemical methods of examination and analysis, in order to deepen our technical knowledge about the restoration of easel painting in the nineteenth century. Through historical documents we could identify periods of restoration, restorers and materials used. The observation of paintings allowed selecting a set of twenty-seven pieces that showed old restorations, made in the nineteenth or early twentieth century. In addition it's very important to use examination methods and laboratory analysis to characterise the restoration works and the materials used.
There are in the National Library of Portugal (BNP) about fifty paintings from former convents, mainly portraits executed between the sixteenth and nineteenth centuries, which are hung in rooms and along corridors, far from the eyes of the public and simultaneously protected by recent conservation and restoration interventions. These paintings, of little artistic interest, are, however, individual cases for the study of conservation and restoration interventions made in the nineteenth century. The data obtained will contribute to the history of paintings restoration, in terms of its practical aspects (about materials and techniques used), that is still to be written in Portugal. Our research, which began in January 2011 and is predicted to end in December 2013, has been oriented by three complementary lines of action, with an interdisciplinary methodological base: the exploitation of the BNP's precious and unpublished documental archive; the assessment to the conservation status of the paintings and identification of restoration works; and the material study of the works, from physical and chemical methods of examination and analysis, in order to deepen our technical knowledge about the restoration of easel painting in the nineteenth century. Through historical documents we could identify periods of restoration, restorers and materials used. The observation of paintings allowed selecting a set of twenty-seven pieces that showed old restorations, made in the nineteenth or early twentieth century. In addition it's very important to use examination methods and laboratory analysis to characterise the restoration works and the materials used.
Applied Physics A, 2013
The systematic characterization of the painting's palette and technique applied on the execution of the mural paintings of the Batalha Monastery (Batalha, Leiria, Portugal) is presented. These are the oldest mural paintings known in Portugal (apart from Roman frescoes) and represent the beginning of an artistic Portuguese tradition that continues until the nineteenth century. The aim of the study was to identify for the first time by adopting a multi-analytical physico-chemical approach of the pigments, binder, and alteration products (white veils, crusts, and pigment alteration) of these unique works of arts in order not only to better understand the painting technique, but also to support a conservation-restoration intervention that took place from Micro-sampling of paint layers was performed on representative areas of the paintings. The characterization of the pigments and binders was carried out by microscopy and microanalysis of cross sections using optical microscopy, scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM-EDS), micro-FTIR, and micro X-ray diffraction.
EXPLORATORY ANALYTICAL STUDY OF A 20TH CENTURY PORTUGUESE MURAL PAINTING BY JULIO RESENDE (1917-2011
International Journal of Conservation Science, 2020
This paper unveils for the first time the technical and material features of the mural painting entitled Pentecost's, executed by the Portuguese artist Julio Resende in 1955. The painting depicting twelve Apostles covers the altarpiece of a small church in the countryside of Évora (southern Portugal) and it was rediscovered in 2013 by art historians. The research was carried out with both non-invasive and micro-destructive techniques. In situ examination included technical photography in visible (Vis/Vis-RAK) and in infrared (NIR) light range, ultraviolet induced visible fluorescence (UVF), portable optical microscopy, visible spectrophotometry and handheld energy dispersive X-ray fluorescence spectroscopy (hXRF). Further analysis on paint layers micro-samples were undertaken by dark field optical microscopy (OM), scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM-EDS) and micro-Fourier transform infrared spectroscopy (µ-FTIR). According to the acquired data, the mural was executed in a fresco technique (true and most likely lime fresco). Full size cartoons and handmade sketches were used for transferring the composition to the wall. No traces of organic binder were found with the analytical setup and the analysis of paint layers revealed the use of cobalt blue, a wide range of ochres, chromium green, green earth and barium white. The use of chrome orange and cadmium-based pigments are hypothesized.
The scientific approach to conservation and monitoring of mural paintings executed in a historic house with an eclectic style of the twentieth century, located in Florianópolis, Santa Catarina, Brazil, is an example of interdisciplinary collaboration between conservators, historians, and scientists in planning and development actions for preventive maintenance as well as interventions of restoration. The mural paintings are recognized worldwide as an architectural element and property, which records the representations of the cultural landscape of an age. In this context, the painting technique found in this house and its state of conservation were investigated by evaluation of pigmented surfaces and then by optical and spectroscopic (IR and EDX) techniques. These results were crucial for the record of the characteristic painting present in this building, showing a period marked by intense urban renewal in Brazilian cities.
Minerals
The research carried out on the wall paintings of Hernán Pérez del Pulgar’s Palace chapel in Granada (Spain) was aimed at determining its historical–artistic, stylistic, technical, and compositional aspects. For this, a 16th century frieze and an 18th century pendentive were studied. The mineralogical, chemical, and textural characterization of the constituent materials and the study of the state of conservation of the paintings have helped to determine the pictorial technique used, identify the nature of the salts present in the paintings, and other pathologies including a dormant fungal attack. To this end, optical microscopy (OM), X-ray diffraction (XRD), Field emission scanning electron microscopy with microanalysis (FESEM-EDS), and micro-Raman spectroscopy (MRS) were used. The information obtained helps clarify important aspects of the painting technique used, laying a basis to ensure effective and suitable conservation and restoration measures on the paintings that will ensure...
Scientific methods of analysis are often used for investigation of artworks, and this is also the case of the painting entitled "Vista do Desterro", by Joseph Bruggemann, (1886) which is being restored at the Conservation-Restoration Atelier for Movable Cultural Heritage-ATECOR in Culture Foundation of Santa Catarina-FCC. This study used UV imaging methods, infrared spectroscopy (FTIR) analysis and energy-dispersive X-ray (SEM-EDS) analysis to identify the constituent materials of the referred artwork and previous interventions on it. All the analyses showed that drying oil was used as a binder, and a layer of terpenic varnish was also found. The possibly original pigments found were the following: lead white, natural sienna, brown ocher, synthetic ultramarine and yellow ocher. In addition, areas of at least two interventions were observed, where pigments barium sulfate (permanent white), titanium dioxide (titanium white) and traces of zinc oxide (zinc white) were detected...