Browsing by Author "Barata, Carolina"
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- António Carneiro's painting collection from the municipality of Oporto. Study and conservation in the 150th anniversary of the painter's birthPublication . Barata, Carolina; Cabral, Ana; Aguiar, Maria; Castro, Laura; Machado, Ana; Cardoso, Ana; Valadas, Sara; Piorro, LuisThis paper presents a summary of the results obtained in the first approach ever made to the characterization of the materials and techniques used in the oil painting production by António Carneiro (1872–1930), one of the best portuguese painters in the transition from the 19th to the 20th centuries. A selection of ten oils on canvas belonging to the Municipality of Oporto were analysed using a set of non-invasive techniques: Infrared Reflectography, Ultraviolet Fluorescence Photography, X-ray Fluorescence Spectrometry, Fiber Optics Reflectance Spectroscopy and Fourier Transform Infrared Spectroscopy. The results obtained suggest the use of materials and techniques established in Europe at the turn of the century. The palette is composed of Pb, Zn, Hg, Cr, Cd, Cu, and Co-based pigments, associated with both traditional and recently introduced materials. The great missing element is Ti, associated with Titanium White, available on the market since 1918.
- Caracterização através de análise química da escultura portuguesa sobre madeira de produção erudita e de produção popular da época barrocaPublication . Barata, Carolina; Carballo, Jorgelina; Cruz, António João; Coroado, João; Araújo, Maria Eduarda; Mendonça, Maria HelenaMaking use of several analytical techniques, four erudite and four popular Portuguese baroque wooden sculptures were studied. The materials and techniques employed were identified and the relationship between their artistic quality and the materials used was investigated. In general, the pigments were common at the time, but one pigment discovered in the beginning of the 18th century and two rare arsenic pigments were also identified. In popular sculptures cost-saving was detected, particularly concerning the gold leaf. Regarding some technical procedures identified, recommendations found in historical documents did not seem to have been entirely followed, neither in erudite nor in popular sculptures.
- Conservação do património, cidadania e ética. As campanhas de Verão da Escola das Artes- Universidade Católica Portuguesa- PortoPublication . Vieira, Eduarda; Aguiar, Maria; Barata, Carolina; Subtil, Eulália
- Digitizing collections: a reflection on negative archive collections, prioritizing procedures and what is lostPublication . Pereira, Catarina Cortes; Castro, Laura; Barata, Carolina; San Andrés, MargaritaA common practice today, for photograph collections, is to create images databases available (or not) on-line. Usually, this is regarded as an added value to the collection, especially for making it available outside its community. This paper focuses on the values that define and prioritize the digitizing process of negative photograph archive collections. A reflection is made on the effects of mass digitization, how are the negatives being represented in their digitized versions and what does this mean for future generations. In this digital age, when the knowledge about historical photographic processes has become the knowledge of experts, the need for complete and comprehensive records is paramount to ensure the passing on of knowledge and, consequently, the preservation of the negative collections
- Estudo, conservação e restauro de um estojo de faqueiro do século XVIIIPublication . Santos, Alexandra; Barata, Carolina; Subtil, Eulália; Frade, José; Silva, JoséThe intervention of conservation and restoration of an eighteenth century cutlery case and its historical, material and technical study, allowed not only to restore the physical integrity and original function of the case, but also to deepen the knowledge about the materials and constructive system of the storage furniture, which embodies an important testimony of the table etiquette developed in the Portuguese society of the eighteenth century, under the influence of the French court of Louis XIV . This article aims to describe the historical and aesthetical context in which this piece has emerged and its material and technical features based on the results of the laboratorial analysis that were performed.
- Forma e matéria: a escultura barroca de Santo Estêvão do Museu de Santa Maria de Lamas, PortugalPublication . Barata, Carolina; Cruz, António João; Carballo, Jorgelina; Araújo, Maria Eduarda; Teixeira, Vítor Rui GomesUma escultura sobre madeira, do Museu de Santa Maria de Lamas, representando Santo Estêvão, datável da primeira metade do século XVIII e com características de produção popular, foi objecto de um estudo que teve como principal objectivo a identificação dos materiais e a caracterização das técnicas utilizadas. Esse estudo iniciou-se no contexto de uma intervenção de conservação e restauro e envolveu a radiografia, para análise do suporte de madeira, a observação ao microscópio de cortes histológicos para a identificação da espécie, a espectrometria de fluorescência de raios X dispersiva de energias (EDXRF), para a identificação dos elementos com número atómico igual ou superior ao do cálcio, a microscopia óptica de reflexão com e sem luz polarizada (PLM e OM), para a identificação de pigmentos e caracterização da estratigrafia, e a espectroscopia de infravermelho com transformada de Fourier (FTIR) e testes microquímicos, para o esclarecimento de algumas dúvidas relacionadas com a identificação dos pigmentos. Os resultados obtidos mostram que, salvo nalgumas extremidades, a imagem foi esculpida num só bloco de madeira de espécie frutícola sobre a qual foi aplicada uma camada de gesso e, excepto nas zonas de carnação e do cabelo, duas camadas de bolo arménio. As camadas correspondentes à carnação e ao cabelo assentam directamente sobre a preparação. Nas camadas superficiais foram identificados cré, branco de chumbo, umbra, vermelhão, mínio e um pigmento laranja de arsénio que a princípio se pensou ser realgar, mas que estudos mais pormenorizados, actualmente em curso, sugerem ter composição mais complexa. Foi também detectada a presença de folha de ouro em toda a área estofada e foram identificadas algumas situações que podem ter resultado de uma tentativa de contenção de custos. Ficheiros
- Four reliquary busts from the former monastery of Madre de Deus: Study and conservationPublication . Cunha, Diana; Barata, Carolina; Pais, AlexandreThis article describes the conservation and restoration treatments as well as the historical and analytical study carried out on four reliquary busts from the former Monastery of Madre de Deus, in Lisbon, currently the National Azulejo Museum. These reliquaries belong to a collection composed of forty-five reliquary busts, which represent a unique and practically intact set and has dated busts from the late 16th century until late 17th century. The analytical results obtained suggest that the four busts were produced according to the art treatises of the time and the identified materials meet the materials that would be used in that period.
- Four reliquary busts from the former Monastery of Madre de Deus: study and conservationPublication . Cunha, Diana; Barata, Carolina; Pais, AlexandreThis article describes the conservation and restoration treatments as well as the historical and analytical study carried out on four reliquary busts from the former Monastery of Madre de Deus, in Lisbon, currently the National Azulejo Museum. These reliquaries belong to a collection composed of forty-five reliquary busts, which represent a unique and practically intact set and has dated busts from the late 16th century until late 17th century. The analytical results obtained suggest that the four busts were produced according to the art treatises of the time and the identified materials meet the materials that would be used in that period.
- Gilding Materials And Techniques Used In Erudite And Popular Portuguese Polichrome Baroque Wooden SculpturesPublication . Barata, Carolina; Cruz, António João; Carballo, Jorgelina; Coroado, J.; Araújo, Maria Eduarda
- Os materiais e as técnicas usados numa escultura barroca, do Museu de Santa Maria de Lamas, representando São DomingosPublication . Barata, Carolina; Cruz, António João; Carballo, Jorgelina; Araújo, Maria EduardaA polychrome wooden sculpture from the Museum of Santa Maria de Lamas (Northern Portugal), representing the image of Saint Dominic, produced in the first half of the 18th century, was studied for the identification of the materials and techniques employed in its fine modelling. Radiography was used for the study of the construction details of the wooden support, optical microscopy (OM) and polarized light microscopy (PLM) for the characterization of the paint layers and energy dispersive X-ray spectrometry (EDXRF), Fourier transform infrared spectroscopy (FTIR) and microchemical tests for the identification of pigments and fillers.The identified materials were common to the period when the sculpture was made: gypsum, gold leaf, bole,white lead, brown ochre, vermillion, a black pigment made of carbon (possibly mixed with verdigris, used as a drier), a red lake and a calcium compound used as filler. However, regarding the techniques employed, and probably due to economic reasons, it seems that the recommended practice in art treatises and working contracts was not completely followed in what concerns the ground layers. Similar reasons appear to have caused the use of white lead mixed with a calcium compound, as a filler, in the less expressive areas, and should explain the fact that the estofado techniques (simulation of brocaded vestment) have been limited to the visible areas at the front.
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