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Advisor(s)
Abstract(s)
A presente tese aborda a tela como suporte para pintura em Portugal. Enquadrando-se na área da conservação e restauro, investiga este suporte pictórico do ponto de vista técnico e material, através de um conjunto de cem obras existentes em museus e outras instituições onde a pintura portuguesa se encontra bem representada. Abrangendo tanto a tipologia religiosa como a civil, a investigação foca a evolução do uso da tela, inicialmente com a técnica a têmpera, através de um exemplar de finais do século XV, e posteriormente com a pintura a óleo, através de pinturas de finais do século XVI até finais do século XVIII, quando a revolução industrial suscita uma nova fase da tela na pintura. Do ponto de vista técnico-material, a investigação privilegiou a observação in situ directa e pormenorizada do reverso das pinturas e pressupôs uma análise quantitativa e qualitativa das telas. Estas fizeram-se com o apoio de radiação visível, registo fotográfico digital das frentes e dos reversos das obras e uso de instrumentos de aumento como um conta-fios. Foram examinadas as características formais das telas e recolhidas e analisadas micro-amostras das telas por microscopia óptica, para a identificação dos materiais constituintes. Quanto à pintura a têmpera sobre tela, a oportunidade de analisar alguns dos materiais constituintes através de microscopia óptica, SEM-EDS e μ-FTIR permitiu identificar a matéria-prima da tela, assim como alguns dos pigmentos, cargas e aglutinante presentes. A abordagem confirmou a raridade da obra, cuja técnica pictórica antecedeu a de óleo nesse suporte. Para uma melhor compreensão sobre a tela, abordou-se o processo tradicional de tecelagem da tela em tear manual, relacionando-se as fibras e os padrões tecidos tradicionalmente utilizados na pintura com determinados períodos artísticos internacionais e nacionais. A informação reunida nesta abordagem interdisciplinar foi contextualizada através de tratadística coeva e do costume nacional e europeu sobre o uso da tela na pintura. Procurou-se, com isso, responder a questões sobre a escolha de certas matérias-primas e de estruturas tecidas, sobre medidas dos panos e dimensões das pinturas, sobre a existência de dimensões-padrão e de marcas e carimbos nas telas ao longo do período investigado e, com isso, relaciona-las com preferências de artistas nacionais e também inseri-los na prática pictórica europeia. A apresentação destes resultados permitiu esboçar uma primeira ideia das características distintivas das telas como elementos fundamentais para a pintura nacional, tema que importa aprofundar no futuro, atendendo à sua influência na técnica pictórica.
This thesis addresses canvas as a support for painting in Portugal. Concerning the area of conservation, this pictorial support is investigated from a material and technical point of view, through a set of ninety and six existing works in museums and other institutions where the Portuguese painting is well represented. Covering both religious and civil typologies, this research focuses on the evolution of the use of canvas, initially with the distemper technique, through an exemplar of late fifteenth century, and then with the oil painting technique, through paintings from late sixteenth century to late eighteenth century, when the industrial revolution promotes a new period to painting on canvas. From the technical and material point of view, the investigation focused on direct and detailed in situ observation of the reverse of paintings and involved a quantitative and qualitative analysis of the canvas. These were carried out with the support of visible light, digital photography of the front and reverse of paintings and with the use of a thread-count. The formal characteristics of the canvas were examined and micro-samples of it were collected and analysed by optical microscopy, to identify the material present. In relation to the distemper painting on canvas, the opportunity to analyse some of the constituent materials by optical microscopy, SEM-EDS and μ-FTIR, allowed to identify the raw material of the canvas, as well as some of the pigments, grounds and binder present. The approach confirmed the uniqueness of this painting, whose pictorial technique preceded the use of oil in this weaved support. For a better understanding of canvas, the traditional process of weaving in a handloom was discussed and fibres and traditional fabrics used as paintings supports were related with specific international and national artistic periods. The information gathered in this interdisciplinary approach was contextualized through coeval treatises and national and European custom of the use of canvas in the painting. It sought, with that, answer to questions about the choice of certain materials and woven structures, about cloth sizes and paintings’ dimensions, about marks and stamps on canvas over the period investigated and, therefore, relate them with preferences of local artists and also insert them in European pictorial practice. The presentation of these results allowed outlining a first idea of the distinguishing features of the canvas as fundamental elements for national painting, a subject that matters to deepen in the future, given to its influence on pictorial technique.
This thesis addresses canvas as a support for painting in Portugal. Concerning the area of conservation, this pictorial support is investigated from a material and technical point of view, through a set of ninety and six existing works in museums and other institutions where the Portuguese painting is well represented. Covering both religious and civil typologies, this research focuses on the evolution of the use of canvas, initially with the distemper technique, through an exemplar of late fifteenth century, and then with the oil painting technique, through paintings from late sixteenth century to late eighteenth century, when the industrial revolution promotes a new period to painting on canvas. From the technical and material point of view, the investigation focused on direct and detailed in situ observation of the reverse of paintings and involved a quantitative and qualitative analysis of the canvas. These were carried out with the support of visible light, digital photography of the front and reverse of paintings and with the use of a thread-count. The formal characteristics of the canvas were examined and micro-samples of it were collected and analysed by optical microscopy, to identify the material present. In relation to the distemper painting on canvas, the opportunity to analyse some of the constituent materials by optical microscopy, SEM-EDS and μ-FTIR, allowed to identify the raw material of the canvas, as well as some of the pigments, grounds and binder present. The approach confirmed the uniqueness of this painting, whose pictorial technique preceded the use of oil in this weaved support. For a better understanding of canvas, the traditional process of weaving in a handloom was discussed and fibres and traditional fabrics used as paintings supports were related with specific international and national artistic periods. The information gathered in this interdisciplinary approach was contextualized through coeval treatises and national and European custom of the use of canvas in the painting. It sought, with that, answer to questions about the choice of certain materials and woven structures, about cloth sizes and paintings’ dimensions, about marks and stamps on canvas over the period investigated and, therefore, relate them with preferences of local artists and also insert them in European pictorial practice. The presentation of these results allowed outlining a first idea of the distinguishing features of the canvas as fundamental elements for national painting, a subject that matters to deepen in the future, given to its influence on pictorial technique.
Description
Keywords
Pintura de cavalete Tela Fibras Padrão de tecelagem Suporte pictórico Easel painting Canvas Fibres Weave structures Pictorial support