| Name: | Description: | Size: | Format: | |
|---|---|---|---|---|
| 74.37 MB | Adobe PDF |
Authors
Advisor(s)
Abstract(s)
A presente dissertação aborda o estudo analítico dos materiais e das técnicas usadas
nas pinturas atribuídas a Nuno Gonçalves, um pintor português do séc. XV. A obra
atribuída a este pintor consiste em doze pinturas com excelente qualidade pictórica, das
quais se destaca o famoso Políptico de S. Vicente, um dos mais emblemáticos painéis da
pintura portuguesa, também considerada uma obra-prima em contexto europeu. Do ponto
de vista formal e estilístico, esta obra é usualmente agrupada em três conjuntos: o Políptico
de S. Vicente; os Martírios de São Vicente; e os Quatro Santos.
Com este estudo, pretendeu-se igualmente saber que semelhanças e diferenças
existiriam entre os três grupos; se as influências dos principias centros artísticos europeus,
bem notórias ao nível estilístico nestas pinturas, também se verificaram no plano dos
materiais e das técnicas; se haveria marcas de envelhecimento ou de intervenções de
restauro que fornecessem pintas acerca do percurso temporal destas obras.
A parte experimental compreendeu o recurso a: microscopia digital; microscopia
otica; espectrometria de fluorescência de raios X dispersiva de energia; microdifractometria
de raios X; micro-espectroscopia de infravermelho com transformada de
Fourier; cromatografia líquida de alta eficiência com detetor de rede de díodos.
Os resultados obtidos permitiram verificar que a preparação é composta por gesso
grosso, tal como era usado na pintura do Sul da Europa, notando-se porém que os restantes
estratos em tudo se parecem com o que era habitual na pintura norte-europeia. A técnica
pictórica é a óleo e os pigmentos e misturas empregues para a obtenção das várias cores
equivalem aos mais usados na pintura do Renascimento, destacando-se o uso de azul
ultramarino, que se verificou unicamente no Políptico, e o amarelo de chumbo e estanho,
que corresponde ao tipo I (Pb2SnO4). A douragem foi realizada com mordente à base de
óleo em mistura com vários pigmentos, alguns deles secativos. Detetou-se o uso de folha
de ouro e também de prata na decoração dos motivos do grupo dos Quatro Santos.
Detetaram importantes arrependimentos ao nível cromático nas dalmáticas das
figuras centrais do Políptico, em que subjacente à cor vermelha existe a cor azul,
constituída por um estrato de azul ultramarino a sobrepor outro de azurite. A importância deste arrependimento reside no facto de permitir reconstruir em parte a ordem em que
foram pintadas estas vestes.
Os resultados obtidos levam a concluir que, do ponto de vista das técnicas e dos
materiais, há semelhanças entre os três grupos que confirmam uma autoria comum, mas
existem diferenças que sugerem a presença de vários intervenientes e de fases temporais
diferentes. De acordo com esses resultados concluiu-se que o Políptico de S. Vicente é
mais recente que os restantes grupos.
Foram encontradas redouragens nos três grupos, cuja técnica, ainda que comum aos
três, evidencia diferenças que sugerem uma história material diferente entre o Políptico e
os restantes grupos. Por fim, descobriu-se que a redouragem que ocorreu nos Quatro
Santos é provavelmente a mesma que foi aplicada nos Martírios de S. Vicente, estimandose
que terá ocorrido no séc. XVI, na mesma ocasião em que foram repintados os fundos do
primeiro.
This dissertation presents an analytical study of the materials and techniques used in the paintings attributed to Nuno Gonçalves, a 15th-century Portuguese painter. The works attributed to this painter are twelve paintings of excellent pictorial quality. Among them is the famous Polyptych of St. Vincent – one of the most outstanding panels in Portuguese painting, also considered a master piece of European art. In terms of form and style, this work is usually grouped into three sets: the Polyptych of St. Vincent; the Martyrdom of St. Vincent; and the Four Saints. Furthermore, this study is intended to distinguish similarities and differences between the three sets: whether the influences of the main European art centres (quite evident in terms of style in these paintings) also occurred at the level of materials and techniques; whether there were any signs of aging or restoration that provided clues about what happened to these paintings throughout time. The experiments included the use of: digital microscopy; optical microscopy; energy dispersive X-ray fluorescence spectrometry; micro-X-ray diffractometry; Fourier Transform infrared microspectroscopy; high-performance liquid chromatography with diode array detector. The results showed that the preparation is made of thick ground, typical of Southern-European painting. However, the remaining strata are quite similar to Northern-European painting. The pictorial technique is oil and the pigments and mixes used in order to obtain the different colours are the most frequent in Renaissance art, specially the use of ultramarine blue (only in the Polyptych) and lead-tin yellow type I pigment (Pb2SnO4). The gilding was performed with an oil-based mordant mixed with several pigments, some of them drying agents. The use of gold and silver leaves was identified in the decoration of the motives in the Four Saints set. Some important changes of mind regarding the colours of the dalmatics of the central figures of the Polyptych were identified – there is blue underneath the red. This blue is made up of an ultramarine blue stratum on top of azurite. The relevance of this change of mind is the fact that it allows us to partially reconstruct the order in which the robes were painted. These results lead to the conclusion that, from the point of view of techniques and materials, there are similarities between the three sets that confirm common authorship. However, there are differences that indicate the work of several people and different stages in time. According to these results, it was concluded that the Polyptych of St. Vincent is more recent than the remaining sets. The use of regilding was found in the three sets. The technique involved, though common to all three, reveals differences that suggest a different material history between the Polyptych and the remaining sets. Lastly, it was concluded that the regilding in the Four Saints is probably the same that was used in the Martyrdom of St. Vincent. It is estimated that it occurred in the 16th century, by the time when the background of the former was repainted.
This dissertation presents an analytical study of the materials and techniques used in the paintings attributed to Nuno Gonçalves, a 15th-century Portuguese painter. The works attributed to this painter are twelve paintings of excellent pictorial quality. Among them is the famous Polyptych of St. Vincent – one of the most outstanding panels in Portuguese painting, also considered a master piece of European art. In terms of form and style, this work is usually grouped into three sets: the Polyptych of St. Vincent; the Martyrdom of St. Vincent; and the Four Saints. Furthermore, this study is intended to distinguish similarities and differences between the three sets: whether the influences of the main European art centres (quite evident in terms of style in these paintings) also occurred at the level of materials and techniques; whether there were any signs of aging or restoration that provided clues about what happened to these paintings throughout time. The experiments included the use of: digital microscopy; optical microscopy; energy dispersive X-ray fluorescence spectrometry; micro-X-ray diffractometry; Fourier Transform infrared microspectroscopy; high-performance liquid chromatography with diode array detector. The results showed that the preparation is made of thick ground, typical of Southern-European painting. However, the remaining strata are quite similar to Northern-European painting. The pictorial technique is oil and the pigments and mixes used in order to obtain the different colours are the most frequent in Renaissance art, specially the use of ultramarine blue (only in the Polyptych) and lead-tin yellow type I pigment (Pb2SnO4). The gilding was performed with an oil-based mordant mixed with several pigments, some of them drying agents. The use of gold and silver leaves was identified in the decoration of the motives in the Four Saints set. Some important changes of mind regarding the colours of the dalmatics of the central figures of the Polyptych were identified – there is blue underneath the red. This blue is made up of an ultramarine blue stratum on top of azurite. The relevance of this change of mind is the fact that it allows us to partially reconstruct the order in which the robes were painted. These results lead to the conclusion that, from the point of view of techniques and materials, there are similarities between the three sets that confirm common authorship. However, there are differences that indicate the work of several people and different stages in time. According to these results, it was concluded that the Polyptych of St. Vincent is more recent than the remaining sets. The use of regilding was found in the three sets. The technique involved, though common to all three, reveals differences that suggest a different material history between the Polyptych and the remaining sets. Lastly, it was concluded that the regilding in the Four Saints is probably the same that was used in the Martyrdom of St. Vincent. It is estimated that it occurred in the 16th century, by the time when the background of the former was repainted.
Description
Keywords
Políptico de S. Vicente Pintura do norte da Europa Técnica pictórica Azul ultramarino Amarelo de chumbo e estanho tipo I Polyptych of St. Vincent Northern-European painting Pictorial technique Ultramarine blue Type I lead-tin yellow