Advisor(s)
Abstract(s)
Originário do século XVI, o objeto de estudo nesta dissertação é uma pintura sobre tábua proveniente do Mosteiro de Ancede, no Norte de Portugal. Provavelmente oriunda de um antigo retábulo daquela Igreja apresenta-se como um bom exemplo daquilo que foi a pintura maneirista em Portugal. Com o tema da “Flagelação de Cristo”, crê-se, pelo investigado, que fará parte de um conjunto retabular de que são conhecidas mais quatro pinturas idênticas, atribuíveis ao mesmo artista ou escola.
Alvo de intervenções anteriores, a pintura, em razoável estado de conservação no geral, apresentava, como problema mais evidente, a presença generalizada de desgastes que, incidindo fortemente nas zonas de carnação das figuras representadas, dificultavam a leitura da obra pelo observador. E, curiosamente, apresentava decisões controversas na hora de “tratar” estas mesmas falhas na pintura, exibindo reintegração do topo inferior, dando continuidade ao pavimento original da cena, deixando porém a lacuna de grande proporções que abarcava todo o topo superior e interferia seriamente com a correta leitura da parte superior da cena à mercê de um mero repinte verde que em nada se fundia com a cena original, criando ainda mais ruído em comparação com uma hipotética assunção da falta das camadas pictóricas e a opção por deixar, apenas, a madeira do suporte à vista. Quanto às restantes lacunas de menores dimensões, e os desgastes dispersos por toda a cena, incluindo os rostos das personagens, e portanto localizados em sítios chave para leitura da representação, encontravam-se por tratar.
Assim, e perante tão pouca evidência da existência de um critério para a postura a assumir perante a existência de desgastes em pintura, se definiu o objeto de estudo desta dissertação – a reintegração de desgastes – opção, ainda hoje, repudiada por alguns, nomeadamente por razões como o eventual comprometimento da originalidade da obra pela sobreposição da intervenção de conservação ao original, mas defendida por outros pela devolução da leitura à obra em nome da sua integridade física e também para fruição do observador, sobretudo em obras a culto.
Dating back from the 16th century, the panel painting chosen for this dissertation comes from the monastery of Ancede, in the North of Portugal, and the religious scene represented – Flagellation of Christ – belongs to the various episodes comprising the Passion. The panel suffered several conservation interventions over time, showing no criteria when dealing with wears, gaps or overpainting – areas showing a lack of original paint layers. Some were overpainted, others stayed as such (such as the gaps present in the faces of the three figures in the painting, contributing to a considerable decrease in the unity of the representation), a very large green overpaint was applied to the upper top of the scene, interfering severely with the correct reading of the scene. So, we decided to focus our dissertation on the question regarding the pros and cons of reintegrating wears. The reintegration of wears has always been a controversial question. Adopted by some, repudiated by others, there seems to be no consensus as to the most appropriate methodology to follow in these cases. While some consider it an attack against the work of the original artist, which should be respected at any cost and, therefore, repudiate it, others find it necessary for the restitution of unity and integrity to the painting and for the clear interpretation of what is represented in the scene, especially when it comes to pieces of religious art created specifically for being inside religious buildings for devotion, where they acquire an extra relevance for those who use them as means of remembering important passages of, for example, the Bible or connecting to God or any other religious characters. These devotional pieces were intended to have a didactical function, so their correct interpretation, and, thus, unity, is imperative for them to fulfill their function entirely, making reintegration of wears decisive for accomplishing this.
Dating back from the 16th century, the panel painting chosen for this dissertation comes from the monastery of Ancede, in the North of Portugal, and the religious scene represented – Flagellation of Christ – belongs to the various episodes comprising the Passion. The panel suffered several conservation interventions over time, showing no criteria when dealing with wears, gaps or overpainting – areas showing a lack of original paint layers. Some were overpainted, others stayed as such (such as the gaps present in the faces of the three figures in the painting, contributing to a considerable decrease in the unity of the representation), a very large green overpaint was applied to the upper top of the scene, interfering severely with the correct reading of the scene. So, we decided to focus our dissertation on the question regarding the pros and cons of reintegrating wears. The reintegration of wears has always been a controversial question. Adopted by some, repudiated by others, there seems to be no consensus as to the most appropriate methodology to follow in these cases. While some consider it an attack against the work of the original artist, which should be respected at any cost and, therefore, repudiate it, others find it necessary for the restitution of unity and integrity to the painting and for the clear interpretation of what is represented in the scene, especially when it comes to pieces of religious art created specifically for being inside religious buildings for devotion, where they acquire an extra relevance for those who use them as means of remembering important passages of, for example, the Bible or connecting to God or any other religious characters. These devotional pieces were intended to have a didactical function, so their correct interpretation, and, thus, unity, is imperative for them to fulfill their function entirely, making reintegration of wears decisive for accomplishing this.
Description
Keywords
Maneirismo Pintura sobre tábua, reintegração e desgastes