Authors
Advisor(s)
Abstract(s)
A presente tese iniciou-se com um objectivo: traçar o percurso biográfico e a caracterização estilística, técnico e material da produção de Francisco Correia, um pintor quinhentista da cidade do Porto.
Todavia, no decorrer da análise documental efectuada, surgiram diversas in-congruências que remeteram para a possibilidade de terem existido, na mesma época, dois pintores com o mesmo nome, provenientes da mesma cidade, mas com actividade assinalada em anos diferentes: um activo entre 1568 e cerca de 1580 e o outro a partir da década de noventa. Este facto, aliado às dissemelhanças estilísticas entre as obras, de autoria documentalmente comprovada, associadas ao que se pensava ser um único pintor, reforçou ainda mais esta hipótese. Assim, a actividade documentada, entre 1568 e 1613, daquele que se julgava tradicionalmente ser o único artista quinhentista denominado Francisco Correia, passou a estar dividida em dois períodos, o primeiro referente a Francisco Correia I, autor dos painéis de Santo Estêvão de Valença, entre outras obras atribuídas, e o segundo respeitante a Francisco Correia II, que participou na execução das bandeiras processionais da Misericórdia do Porto, dedicadas ao tema da Paixão de Cristo.
Tendo em conta que a análise estilística das obras evidencia diferenças que sugerem a possibilidade de haver dois artistas envolvidos, pretendeu-se igualmente encontrar algumas expressões dessas diferenças nos materiais e técnicas empregues, com recurso a diferentes registos fotográficos, bem como à análise físico-química dos materiais, realizada através da microscopia óptica (MO), fluorescência de raios X dis-persiva de energia (EDXRF), microscopia electrónica de varrimento com espectrome-tria de raios x dispersiva de energia (SEM-EDS) e espectroscopia de infravermelhos com transformada de Fourier (micro-FTIR), que possibilitou reconhecer algumas ca-racterísticas da técnica pictórica de Francisco Correia I, que difere da técnica pictórica das obras atribuídas a Francisco Correia II.
A conjugação de todos os elementos obtidos no decurso desta investigação per-mitiram uma caracterização da obra de Francisco Correia I, confirmando atribuição de obras que lhe já estavam atribuídas e reconhecendo algumas obras como não sendo da sua autoria. Relativamente ao Francisco Correia II, constatou-se que todas as obras que lhe estavam atribuídas não são da sua autoria e, da sua produção, apenas foi pos-sível caracterizar técnica e materialmente as bandeiras processionais da Paixão de Cristo, trabalho realizado com mais três artistas, nas quais foram utilizados os mesmos materiais. Visto que não existiu, também, qualquer diferença na forma como esses materiais foram aplicados, não foi possível reconhecer alguma particularidade própria, em relação aos outros artistas que trabalharam nas bandeiras processionais com Fran-cisco Correia II.
The objective of this thesis was to trace the biographical information and the stylistic, technical and material characterization of Francisco Correia’s production, a 16th century painter from Oporto. However, during the documentary analysis developed, some inconsistencies concerning some biographical aspects arose, which raises the possibility that two painters with the same name have lived at the same time and in the same city, but with activity in different years: one between 1568 and c. 1580 and the other from the 90s on. This fact, together with the stylistic dissimilarities between the work whose au-thorship is documentally identified has, connected to what previously thought to be a single painter, further strengthened this idea. Thus, the documented activity, between 1568 and 1613, of who traditionally was thought to be the only 16th century painter called Francisco Correia, is now divided into two periods of time, the first refers to Francisco Correia I, author of the panels of Santo Estêvão de Valença, among other pieces of work attributed to him, and the second is concerned with Francisco Correia II, who took part in the production of the processional flags of Misericórdia do Porto, celebrating the passion of Christ. Bearing in mind that the stylistic analysis of the pieces of work reveals differ-ences which arise the possibility of the existence of two artists involved, we also tried to find some expression of those differences in the material and techniques used, by using different photographic records, as well as the physics and chemical analysis of the materials, through the use of optical microscopy (OM), energy dispersive X-ray fluorescence (EDXRF) , scanning electron microscopy - energy dispersive X-ray spec-trometry (SEM-EDS) and Fourier transform infrared spectroscopy (micro-FTIR), which allow to recognize some characteristics of the pictorial technique of Francisco Correia I, that differs from the pictorial technique of the work assigned to Francisco Correia II. The combination of all the elements gathered through this investigation allow the characterization of the work of Francisco Correia I, confirming the attribution of some pieces of work that were already attributed to him and recognizing some pieces of work as not being from his authorship. Concerning Francisco II, it was found that all the work attributed to him didn’t belong to him, and from his production, it was only possible to characterize technically and materially the processional flags of the passion of Christ, work produced together with other three artists, using the same ma-terials, and also there has been no difference in the way those materials were used, so it was not been possible to recognize any own particularity, compared to the other artists who worked in the processional banners with Francisco Correia II.
The objective of this thesis was to trace the biographical information and the stylistic, technical and material characterization of Francisco Correia’s production, a 16th century painter from Oporto. However, during the documentary analysis developed, some inconsistencies concerning some biographical aspects arose, which raises the possibility that two painters with the same name have lived at the same time and in the same city, but with activity in different years: one between 1568 and c. 1580 and the other from the 90s on. This fact, together with the stylistic dissimilarities between the work whose au-thorship is documentally identified has, connected to what previously thought to be a single painter, further strengthened this idea. Thus, the documented activity, between 1568 and 1613, of who traditionally was thought to be the only 16th century painter called Francisco Correia, is now divided into two periods of time, the first refers to Francisco Correia I, author of the panels of Santo Estêvão de Valença, among other pieces of work attributed to him, and the second is concerned with Francisco Correia II, who took part in the production of the processional flags of Misericórdia do Porto, celebrating the passion of Christ. Bearing in mind that the stylistic analysis of the pieces of work reveals differ-ences which arise the possibility of the existence of two artists involved, we also tried to find some expression of those differences in the material and techniques used, by using different photographic records, as well as the physics and chemical analysis of the materials, through the use of optical microscopy (OM), energy dispersive X-ray fluorescence (EDXRF) , scanning electron microscopy - energy dispersive X-ray spec-trometry (SEM-EDS) and Fourier transform infrared spectroscopy (micro-FTIR), which allow to recognize some characteristics of the pictorial technique of Francisco Correia I, that differs from the pictorial technique of the work assigned to Francisco Correia II. The combination of all the elements gathered through this investigation allow the characterization of the work of Francisco Correia I, confirming the attribution of some pieces of work that were already attributed to him and recognizing some pieces of work as not being from his authorship. Concerning Francisco II, it was found that all the work attributed to him didn’t belong to him, and from his production, it was only possible to characterize technically and materially the processional flags of the passion of Christ, work produced together with other three artists, using the same ma-terials, and also there has been no difference in the way those materials were used, so it was not been possible to recognize any own particularity, compared to the other artists who worked in the processional banners with Francisco Correia II.
Description
Keywords
Francisco Correia Pintura maneirista Painéis de Santo Estêvão de Valença Bandeiras processionais da Paixão de Cristo EDXRF Micro-FTIR SEM-EDS Mannerist painting Panels of Santo Estêvão de Valença Processional flags of the passion of Christ