Browsing by Author "Carballo, Jorgelina"
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- 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 Regarding some technical procedures identified, recommendations found in historical documents did not seem to have been entirely followed, neither in erudite nor in popular sculptures.
- 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
- 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.
- The materials and techniques of polychrome baroque wooden sculpture: three works from Baião, Portugal, studied by an integrated, complementary analytical approachPublication . Barata, Carolina; Cruz, António João; Carballo, Jorgelina; Araújo, Maria EduardaThree polychrome wooden sculptures, made between the last quarter of the 17th century and the first half of the 18th century, from a monastery in Northern Portugal, representing an episode of the Passion of Christ, were analysed with three aims: to identify the materials and techniques employed; to clarify the relationship between the three sculptures; to reveal previous restorations. Techniques such as radiography, energy dispersive X-ray spectrometry, optical and polarized light microscopy and Fourier Transform infrared spectroscopy were employed. White lead, vermillion, umber, carbon black, gypsum, anhydride and chalk were identified as pigments and fillers. These materials and the layer structure led to the conclusion that sculptures 1 and 2 were treated as a pair of sculptures and that they underwent at least two restorations: the first was probably done in the workshop where they were made. During the second restoration, the heads were replaced. Sculpture 3 is not restored and its poorer style seems to have correspondence to materials of lower quality.
- Virtual Restoration of a XVIII Century SculpturePublication . Pereira, Francisco Gaitto; Carballo, Jorgelina; Lourenço, Ana BidarraThe dawn of computer data visualization launched a permanent challenge the representation of objects with computers. Nowadays we expect to see and experience not just a mere representation of objects but realistic objects created by computers. This work is an ongoing experiment to demonstrate how we sought to represent artistic objects, rebuild and enhance their visual appearance, and reconstruct missing physical parts using of Computer Graphic tools. This multidisciplinary effort enables us to experience virtual artistic objects and makes them available for uncontrolled and unprepared 3d environments like classrooms, museums, or wherever we intend to easily share digital contents.