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Authors
Abstract(s)
Em Portugal, desde o século XVII, os retábulos possuem, no vão central da sua estrutura, telas pintadas e houve um gosto particular em utilizar mecanismos de deslocação em algumas delas, para a exposição do Santíssimo Sacramento.
Utilizando o legado artístico de Pedro Alexandrino de Carvalho (1729 – 1810), neste trabalho, pretende-se estudar os diversos sistemas de exposição das telas de altar, móveis e fixos; aprofundar o conhecimento das telas de altar deste artista, caracterizando a sua paleta, a técnica de execução das pinturas e o seu processo criativo (na medida do possível, através da análise das suas telas de altar por comparação com estudos prévios, alguns modelos e o desenho subjacente); assim como encontrar algumas figuras modelo que o tornam identificável e as suas assinaturas.
A metodologia de investigação seguida neste trabalho envolveu a análise in loco de setenta pinturas, a realização de fotografias com luz visível e de infravermelho, de radiografias e a análise dos seus materiais constituintes através de diversas técnicas analíticas, nomeadamente a espectrometria de fluorescência de raios X por dispersão de energia (EDXRF), a microscópia óptica (MO), a microscopia electrónica de varrimento com espectrometria de raios X dispersiva de energia (SEM-EDS) e a micro-espectroscopia de infravermelho com transformada de Fourier (μ-FTIR).
Com base no estudo desenvolvido são apresentados dois sistemas de exposição das telas de altar fixas e três de pinturas amovíveis, verificado que os materiais presentes nas pinturas de Pedro Alexandrino são os comuns aos artistas do seu tempo e que os particularismos técnicos são os de um artista expedito, que trabalhou sobre preparações coloridas, dando vivacidade e ritmo às suas composições.
In Portugal, since the 17th century, the retables have, in the center of their structure, paintings in textiles supports and some of them have displacement mechanisms for the exposition of the Blessed Sacrament. Using the artistic legacy of Pedro Alexandrino de Carvalho (1729 - 1810), in this work, the objective is to study the mechanisms of exposition of altar screens, fixed and removable; deepen the knowledge of altar screens of this artist, characterizing his palette, the technique execution of the paintings and their creative process (as far as possible, by analyzing its altar screens compared with previous studies, models and the underlying drawing); as well as find some role models that make it identifiable and their signatures. The research methodology used included the analysis in loco of seventy paintings by energy dispersive X-ray fluorescence spectrometry (EDXRF) and further study of microscopic samples using optical microscopy (OM), scanning electron microscopy with energy dispersive X-ray spectometry (SEM-EDS) and Fourier transform infrared microspectroscopy (FTIR- μs). Based on the study developed are presented two display systems for fixed altar screens and three removable paintings, checked that the materials present in Pedro Alexandrino paintings are common to artists of their time and that the technical particularities are of an artist expeditious, who worked on colored ground layres, giving rhythm to his compositions.
In Portugal, since the 17th century, the retables have, in the center of their structure, paintings in textiles supports and some of them have displacement mechanisms for the exposition of the Blessed Sacrament. Using the artistic legacy of Pedro Alexandrino de Carvalho (1729 - 1810), in this work, the objective is to study the mechanisms of exposition of altar screens, fixed and removable; deepen the knowledge of altar screens of this artist, characterizing his palette, the technique execution of the paintings and their creative process (as far as possible, by analyzing its altar screens compared with previous studies, models and the underlying drawing); as well as find some role models that make it identifiable and their signatures. The research methodology used included the analysis in loco of seventy paintings by energy dispersive X-ray fluorescence spectrometry (EDXRF) and further study of microscopic samples using optical microscopy (OM), scanning electron microscopy with energy dispersive X-ray spectometry (SEM-EDS) and Fourier transform infrared microspectroscopy (FTIR- μs). Based on the study developed are presented two display systems for fixed altar screens and three removable paintings, checked that the materials present in Pedro Alexandrino paintings are common to artists of their time and that the technical particularities are of an artist expeditious, who worked on colored ground layres, giving rhythm to his compositions.
Description
Keywords
Pedro Alexandrino de Carvalho Telas de altar Microscopia óptica μ-FTIR SEM-EDS Suportes têxteis Preparações Camadas cromáticas Superfície pictórica Altar screens Optical microscopy Textile supports Ground layers Chromatic layers Pictorial surface