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Advisor(s)
Abstract(s)
Este trabalho debruçou-se sobre obra do pintor lisboeta Diogo Teixeira (+/-1540-
1612), considerado um dos mais relevantes representantes do maneirismo
português da segunda metade do século XVI. Da sua numerosa produção, foram
selecionadas dezasseis pinturas, com autoria comprovada na maioria dos casos,
ou com características estéticas e documentação que, indiretamente, as incluem
no seu trajeto laboral. As pinturas estudadas inserem-se em quatro núcleos, de
acordo com a sua proveniência – Misericórdia de Alcochete, Misericórdia do
Porto, Mosteiro de Arouca e igreja do Hospital de Jesus Cristo em Santarém.
Apesar do principal objetivo deste trabalho ser a caracterização das opções
técnicas e materiais do pintor, a investigação realizada contribuiu igualmente para
o conhecimento do percurso histórico das pinturas estudadas, assim como do seu
estado de conservação.
O desenvolvimento deste estudo foi possível através da utilização de diversos
métodos de exame, numa primeira fase, recorrendo a exames não invasivos,
nomeadamente o registo fotográfico sob luz visível, UV e IV, reflectografia de IV,
radiografia, assim como a inspeção visual das obras, processo decorrido no seu
local de exposição. Posteriormente, com o intuito de se identificarem os materiais
constituintes das pinturas, procedeu-se à realização de diversas análises através
de métodos não invasivos, como a espectrometria de fluorescência de raios-X por
dispersão de energia (EDXRF), e métodos de análise de amostras, como a
microscopia eletrónica de varrimento acoplada à espectrometria de raios X por
dispersão de energia (SEM-EDX) e a micro-espectroscopia de infravermelho com
transformada de Fourier (μ-FTIR).
Os resultados obtidos foram comparados com a documentação técnica da época
e com estudos nacionais e internacionais sobre pintura do século XVI e,
pontualmente, do século anterior, de forma a contextualizar a pintura de Diogo
Teixeira. As obras analisadas incluem suportes de madeira e de tela, sobre os
quais foram aplicadas preparações diferentes, demonstrando a capacidade adaptativa e experimentalista deste pintor. O desenho subjacente, visualizado
sobretudo no núcleo de Arouca, caracteriza-se por um traço seguro, contínuo e
suave, feito a pincel, demonstrativo da sua destreza. No que diz respeito à
camada cromática, esta composta por pigmentos comuns na época, aglutinados
em óleo.
O estudo dos estratos de tinta permitiu identificar um processo de simplificação
técnica que se deve, provavelmente, a uma crescente influência italiana, bem
como à evolução natural das capacidades técnicas do pintor, fruto de um percurso
laboral profícuo. O desenvolvimento de processos de degradação identificados
nas camadas cromáticas foi igualmente abordado nesta investigação,
contribuindo para a compreensão de algumas alterações cromáticas observadas
nas pinturas e para a demonstração de outras, que passariam despercebidas sem
esta análise, como é o caso da cor verde presente nos mantos da Virgem do
núcleo de Alcochete, que não corresponde à cor original, mas se deve ao
fenómeno de degradação do esmalte.
This work is focused in the study of Diogo Teixeira’s (+/-1540-1612) artistic production, who is considered one of the most relevant painters of Portuguese Mannerism, from the second half of 16th century. From his large artistic production, sixteen paintings were selected for this research. Most of them are paintings with proven authorship, and some are attributed to Diogo Teixeira taking into account aesthetic features and the existence of historical documentation that allows relating those paintings to this artist. The selected works may be divided in four sets of paintings, according to their provenance: Misericórdia of Alcochete, Misericórdia of Oporto, Arouca’s monastery and church of the Jesus Christ’s Hospital, in Santarém. Though the main objective of this work was the study and characterization of the painter’s technical and materials choices, this research has also contributed to understand the historical background of the selected paintings, and to assess their state of conservation. The development of this study was possible through the use of various examination methods, initially using noninvasive methods such as photographic registration under visible, ultraviolet and infrared lights, infrared reflectography, Xray radiography, as well as their visual observation in their exhibition place. Then, in order to identify the constituent materials of the paintings, different analytical techniques were employed for the study of the paintings supports and pictorial layers: optical microscopy, scanning electron microscopy with energy dispersive X-ray spectrometry (SEM-EDX), energy dispersive X-ray fluorescence spectrometry (EDXRF), and Fourier transform infrared micro-spectroscopy (μ- FTIR). The obtained results were compared with technical documentation from the epoch and with recent studies about 15th and 16th Portuguese painting, in order to contextualize Diogo Teixeira’s work. The selected paintings include wooden and canvas supports on which different types of preparation layers were applied, demonstrating the adaptability and experimental skills of this painter. The preparatory underdrawing, mainly in Aroucas’ paintings, is characterized by a secure, continuous and smooth dash made with a brush, denoting the great drawing skills of this artist. Concerning the paint layers, these are constituted by mixtures of the usual pigments of Teixeira’s time and a siccative oil binder. The examination of the paint and preparatory layers of these paintings allowed the identification of a technical simplification process during his career, probably due to a growing Italian influence in his work, as well as to a natural evolution on his technical skills, as a result of a fruitful career. The development of degradation processes identified in the paint layers were also studied during this research, which allowed to understand some of the color changes in paintings, and to demonstrate the existence of others that could be undetected without the analyses carried on the paint layers, namely in some cases where smalt degradation phenomenon was analytically observed.
This work is focused in the study of Diogo Teixeira’s (+/-1540-1612) artistic production, who is considered one of the most relevant painters of Portuguese Mannerism, from the second half of 16th century. From his large artistic production, sixteen paintings were selected for this research. Most of them are paintings with proven authorship, and some are attributed to Diogo Teixeira taking into account aesthetic features and the existence of historical documentation that allows relating those paintings to this artist. The selected works may be divided in four sets of paintings, according to their provenance: Misericórdia of Alcochete, Misericórdia of Oporto, Arouca’s monastery and church of the Jesus Christ’s Hospital, in Santarém. Though the main objective of this work was the study and characterization of the painter’s technical and materials choices, this research has also contributed to understand the historical background of the selected paintings, and to assess their state of conservation. The development of this study was possible through the use of various examination methods, initially using noninvasive methods such as photographic registration under visible, ultraviolet and infrared lights, infrared reflectography, Xray radiography, as well as their visual observation in their exhibition place. Then, in order to identify the constituent materials of the paintings, different analytical techniques were employed for the study of the paintings supports and pictorial layers: optical microscopy, scanning electron microscopy with energy dispersive X-ray spectrometry (SEM-EDX), energy dispersive X-ray fluorescence spectrometry (EDXRF), and Fourier transform infrared micro-spectroscopy (μ- FTIR). The obtained results were compared with technical documentation from the epoch and with recent studies about 15th and 16th Portuguese painting, in order to contextualize Diogo Teixeira’s work. The selected paintings include wooden and canvas supports on which different types of preparation layers were applied, demonstrating the adaptability and experimental skills of this painter. The preparatory underdrawing, mainly in Aroucas’ paintings, is characterized by a secure, continuous and smooth dash made with a brush, denoting the great drawing skills of this artist. Concerning the paint layers, these are constituted by mixtures of the usual pigments of Teixeira’s time and a siccative oil binder. The examination of the paint and preparatory layers of these paintings allowed the identification of a technical simplification process during his career, probably due to a growing Italian influence in his work, as well as to a natural evolution on his technical skills, as a result of a fruitful career. The development of degradation processes identified in the paint layers were also studied during this research, which allowed to understand some of the color changes in paintings, and to demonstrate the existence of others that could be undetected without the analyses carried on the paint layers, namely in some cases where smalt degradation phenomenon was analytically observed.
Description
Keywords
Diogo Teixeira Maneirismo Pintura sobre madeira Pintura sobre tela Microscopia ótica Micro-FTIR SEM-EDX Mannerism Panel painting Canvas painting Optical microscopy μ-FTIR