quarta-feira, 28 de fevereiro de 2007

Sistema de reintegração cromática aplicado ao restauro da pintura de cavalete

José Manuel de la Roja de la Roja, Sistema de reintegración cromática asistido por medios transferibles obtenidos por procedimientos fotomecánicos: aplicación en la restauración de pintura de caballete, Tese de Doutoramento, Universidad Complutense de Madrid, 1999

Índice:

Introdución

Sistemas de reintegración

  • Criterios de reintegración
  • Técnicas de reintegración
  • Exigencias técnicas
  • Aspectos cromáticos

Fundamentos del sistema de reintegración que se propone

  • Principios teóricos del color
  • Reproducción del color

Material necesario para el desarrollo del sistema. Optimación de la naturaleza de los componentes, dosificación y condiciones de trabajo

  • Características de los Fondos Tramados Transferibles (FTT)
  • Tablas cromáticas

Proceso de reintegración. Metodología de trabajo

  • Análisis del color a reintegrar
  • Síntesis del color a reintegrar

Discusión

Conclusiones

A tese está integralmente disponível aqui.

Os trabalhos do pintor: 44

Molenaer, século XVII.

terça-feira, 27 de fevereiro de 2007

Os trabalhos do pintor: 43

Judith Leyster, cerca de 1635.

Antiques. Their Restoration and Preservation

Alfred Lucas (1867-1945), o autor de Ancient Egyptian Materials & Industries, que há dias aqui referi, publicou também um manual sobre restauro de antiguidades, que teve 1.ª edição em 1924 e 2.ª edição, revista, em 1932:

A. Lucas, Antiques. Their Restoration and Preservation, London, Edward Arnold, 1924, 136 pp.

Este manual é anterior aos manuais de A. Scott (The Cleaning and Restoration of Museum Exhibits, 1926) e de H. J. Plenderleith (The Conservation of Antiquities and Works of Art, 1956), muito mais conhecidos.

A 1.ª edição está livremente disponível aqui.

Índice:

Restoration

  • Introduction
  • Restoration
  • Cleaning
  • Repairing
  • Strengthening
  • Renewing

Preservation

  • Light
  • Moisture and other atmospheric influences
  • Dust
  • Insects
  • Bacteria and fungi
  • Handling
  • Preservative coatings

Application of methods to specific materials

  • Alabaster
  • Amber and other resins
  • Baskets and reed work
  • Beads
  • Clay
  • Faience
  • Feathers and hair
  • Gesso and plaster
  • Glass
  • Ivory, bone and horn
  • Jewellery and enamel
  • Leather
  • Metals (gold, silver, copper, bronze, iron and lead)
  • Papyrus and paper
  • Parchment and vellum
  • Pictures
  • Pottery
  • Stone
  • Textile fabrics
  • Wood

Simple physical and chemical tests

  • Physical tests
  • Chemical tests
  • Reagents and solutions required

segunda-feira, 26 de fevereiro de 2007

Os trabalhos do pintor: 42

Guercino, cerca de 1652.

Analytical and Bioanalytical Chemistry – número temático sobre arqueometria

A revista Analytical and Bioanalytical Chemistry acabou de publicar um número com uma secção temática sobre arqueometria. Trata-se do número 3, do volume 387, de 2007.

Os artigos dessa secção temática são os seguintes:

  • P. Vandenabeele, Archaeometry, an interdisciplinary approach, p. 735
  • M. Schreiner, M. Melcher, K. Uhlir, Manfred AF Schreiner, Michael Melcher, Katharina Uhlir, Scanning electron microscopy and energy dispersive analysis: applications in the field of cultural heritage, pp. 737-747
  • Giakoumaki, K. Melessanaki, D. Anglos, Anastasia AF Giakoumaki, Kristalia Melessanaki, Demetrios Anglos, Laser-induced breakdown spectroscopy (LIBS) in archaeological science-applications and prospects, pp. 749-760
  • Vivi Tornari, Laser interference-based techniques and applications in structural inspection of works of art, pp. 761-780
  • von Bohlen, S. Rohrs, J. Salomon, Alex AF von Bohlen, Stefan Rohrs, Joseph Salomon, Spatially resolved element analysis of historical violin varnishes by use of mu PIXE, pp. 781-790
  • F. Casadio, J. G. Douglas, K. T. Faber, Francesca AF Casadio, Janet G. Douglas, Katherine T. Faber, Noninvasive methods for the investigation of ancient Chinese jades: an integrated analytical approach, pp. 791-801
  • E. Kouloumpi, G. Lawson, V. Pavlidis, Eleni AF Kouloumpi, Graham Lawson, Vassilios Pavlidis, The contribution of gas chromatography to the resynthesis of the post-Byzantine artist's technique, pp. 803-812
  • P. Vandenabeele, J. Tate, L. Moens, Peter AF Vandenabeele, Jim Tate, Luc Moens, Non-destructive analysis of museum objects by fibre-optic Raman spectroscopy, pp. 813-819
  • HGM Edwards, A. S. Wilson, NFN Hassan, A. Davidson, A. Burnett, AF Edwards, Howell G. M., Andrew S. Wilson, Nik F. Nik Hassan, Andrew Davidson, Andrew Burnett, Raman spectroscopic analysis of human remains from a seventh century cist burial on Anglesey, UK, pp. 821-828
  • HGM Edwards, B. Stern, SEJ Villar, A. R. David, AF Edwards, Howell G. M., Ben Stern, Susana E. Jorge Villar, A. Rosalie David, Combined FT-Raman spectroscopic and mass spectrometric study of ancient Egyptian sarcophagal fragments, pp. 829-836
  • HGM Edwards, T. J. Benoy, AF Edwards, Howell G. M., Timothy J. Benoy, The de Brecy Madonna and Child tondo painting: A raman spectroscopic analysis, pp. 837-846
  • K. Castro, M. Perez-Alonso, M. D. Rodriguez-Laso, N. Etxebarria, J. M. Madariaga, Kepa AF Castro, Maite Perez-Alonso, Maria Dolores Rodriguez-Laso, Nestor Etxebarria, Juan Manuel Madariaga, Non-invasive and non-destructive micro-XRF and micro-Raman analysis of a decorative wallpaper from the beginning of the 19th century, pp. 847-860
  • Adriaens, M. Dowsett, K. Leyssens, B. Van Gasse, Annemie AF Adriaens, Mark Dowsett, Karen Leyssens, Bjorn Van Gasse, Insights into electrolytic stabilization with weak polarization as treatment for archaeological copper objects, pp. 861-868

Os artigos estão disponíveis aqui
[acesso condicionado]

domingo, 25 de fevereiro de 2007

Os trabalhos do pintor: 41

El Greco, cerca de 1603.

Os materiais e as tecnologias do Egipto Antigo

Um dos livros clássicos sobre os materiais e as tecnologias da Antiguidade está disponível online:

A. Lucas, Ancient Egyptian Materials & Industries, 3rd edition, London, Edward Arnold Ltd, 1959, 570 pp.

A primeira edição data de 1948, mas o livro continua à venda, através da reimpressão da Dover Publications da 4.ª edição, publicada em 1962, actualizada por J. R. Harris.

Índice:

  • Adhesives (Albumin : Beeswax : Clay : Glue : Gum : Gypsum : Natron : Resin : Solder : Starch : Salt : Unidentified Adhesives)
  • Alcoholic Beverages (Beer and Brewing : Wine and Wine Making : Distilled Spirits) : Sugar
  • Animal Products (Bone : Feathers : Gut : Hair : Horn : Ivory : Leather : Mother of Pearl : Ostrich Egg-Shell : Parchment :Tortoise-Shell : Marine And Fresh Water Shells)
  • Beads
  • Building Materials (Bricks and Brick Making : Stone And Stone Working : Mortar : Plaster : Wood)
  • Cosmetics, Perfumes, Incense and Fragrant Woods
  • Inlaid Eyes
  • Fibres (Basketry : Brushes : Cordage : Matting : Papyrus) : Woven Fabrics (Linen : Wool : Cotton : Silk : Grass And Reed : Hemp : Ramie) : Dyeing
  • Glazed Ware (Glazed Steatite : Faience : Faience Variants : Glazed Quartz : Glazed Pottery : Glazing Methods And Media)
  • Glass and Glass Manufacture
  • Metals And Alloys (Antimony : Copper, Bronze And Brass : Gold And Electrum : Iron : Lead : Platinum : Silver : Tin) : Ores (Mining : Smelting) : Metal Working : Minerals (Alum : Cobalt Compounds : Emery : Graphite : Manganese Compounds : Mica : Natron : Nitre : Salt : Sulphur)
  • Mummification
  • Oils, Fats and Waxes
  • Painting Materials: Writing Materials
  • Pottery and Pottery Making
  • Stones, Precious and Semi-Precious
  • Stones, Other Than Building Stones and Precious Stones: Stone Vessels
  • Wood and Wood Working : Bark : Silicified Wood : Charcoal
  • Historical Summary

O livro está livremente disponível aqui.

sábado, 24 de fevereiro de 2007

Os trabalhos do pintor: 40

Aert de Gelder, 1685.

Análise Instrumental de Pigmentos

Acabou de ser publicado:

María Teresa Doménech Carbó, Dolores Julia Yusá Marco, Aproximación al Análisis Instrumental de Pigmentos Procedentes de Obras de Arte, Editorial Universidad Politécnica de Valencia, Valencia, 2006.

Índice

  • Microscopia óptica
  • Petrografia microscópica
  • Microscopia electrónica de barrido
  • Fluorescencia de rayos X
  • Difracción de rayos X
  • Microscopia fotoelectrónica de barrido
  • Análisis por activación neutrónica
  • Aplicación a un caso real

sexta-feira, 23 de fevereiro de 2007

Os trabalhos do pintor: 39

Abraham Bosse, século XVII.

José María Cabrera: a obra escrita de um conservador

Acabou de ser publicada a recolha das publicações de José María Cabrera, conservador espanhol, discípulo de Paul Coremans:

José María Cabrera, Obra Completa, Ars Sacra, 2006, 517 pp.

Da introdução:

El Químico que dedica su esfuerzo a estudiar y restaurar obras de contenido artístico y cultural, trabaja siempre, ó al menos así debería hacerlo, con el supuesto de que su material es estéticamente valioso y de que, aún rodeando su trabajo de todas las garantías, él se reserva el ápice de su labor al servicio de los problemas del Arte y, por su conducto, a los de la Historia. De la falta de claridad sobre esta idea fundamental proceden los equívocos y los errores que ponen en peligro los fines últimos, ya que, con procedimientos analíticos cada vez más refinados, puede limitar su tare a un simple acarreo cuantitativo y, por lo tanto, a unas aportaciones de escaso rango científico. Aunque el Químico trabaje en las mas modestas áreas, debe mantener la vista alzada hacia las metas a que apunta su labor, no permaneciendo como impasible recolector de datos ó aplicador de recetas, sino nutriéndose con el descubrimiento personal de las conexiones entre el Arte, en su espiritualidad, y la materia, en su inmutable pasividad, a través de la historia de las formas que recubren el quehacer humano.

Índice:

Criterios de conservación

  • Conservación y restauración
  • La piedra material base
  • Reinterpretación de los factores de riesgo

Materiales de construcción

  • Consolidación de la madera
  • Causas de alteración y métodos de conservación aplicables a los monumentos hechos en piedra
  • Fábricas de piedra
  • Materiales de reparación
  • Técnicas de valoración y protección de las figuraciones arquitectónicas
  • Alteración y conservación de estructuras y muros

Intervenciones

  • La conservación de la portada de Santa María de Ripoll
  • Programa para la conservación de la portada de Ripoll: últimas realizaciones
  • Catedral de León: sobre algunas particularidades tecnológicas en la conservación de la escultura lítica exenta
  • Tratamiento para la conservación de la piedra en la catedral de León: la aguja de la Torre sur
  • Reflexiones en torno a la imagen. El color. La luz

Estudios de policromía

  • El azul maya
  • Nota de laboratorio sobre bronces ibéricos de Despeñaperros
  • Estudio de materiales y técnica de la escultura en madera policromada «Virgen de la Oliva» de Alonso Cano (s. XVII)
  • Conservación y restauración de una escultura ibérica en piedra policromada del siglo IV a J.C.

Contaminación y patrimonio

  • La influencia de los contaminantes en el patrimonio artístico nacional
  • Contribución de la química a las Bellas Artes
  • Contaminación y patrimonio. Punto de vista del restaurador
  • Climatologie au Musée del Prado
  • Cross-sections

Estudio de materiales y técnicas de pintura

  • La virgen de la Mosca de la colegiata de Toro (Zamora) L'Annonciation de la Chartreuse de Miraflores (Burgos): étude et traitement de conservation
  • La Piedad de Roger van der Weyden. Análisis de laboratorio
  • Dibujos subyacentes en las obras de Fernando Gallego
  • Estudio técnico del Guernica
  • El dibujo subyacente y otros aspectos técnicos de la tablas de Sopetran
  • P. Berruguete: el dibujo subyacente de la predela del retablo mayor de la iglesia de Santa Eulalia de Paredes de Nava
  • Estudio técnico comparativo de dos Sagradas familias del Greco
  • Algunas cuestiones técnicas de «Descendimiento de la Cruz» de van der Weideen
  • «La Fragua de Vulcano». Estudio técnico y algunas consdieraciones sobre los materiales y métodos del XVII
  • Le dessin sous-jacent chez Jérôme Bosch: L'Adoration des mages du Musée du Prado
  • Juan Martín Díaz «El Empecinado» de Francisco de Goya

Altamira

  • Conservación de la cueva de Altamira: sugerencias para un programa de trabajo

quinta-feira, 22 de fevereiro de 2007

Os trabalhos do pintor: 38

Tobias van Haecht, século XVII.

Machado de Castro online

O escultor português Joaquim Machado de Castro (1731-1822), autor da estátua de D. José no Terreiro do Paço, em Lisboa, e de presépios como o da basílica da Estrela, teve uma significativa produção escrita.

Dessas obras estão livremente disponíveis online as seguintes:

  • Discurso sôbre as utilidades do desenho, Lisboa, António Rodrigues Galhardo, 1788: aqui
  • Descripção analytica da execução da estatua equestre erigida em Lisboa à glória do Senhor Rei Fidelissimo D. José I, Lisboa, Imp. Regia, 1810: aqui
  • Dicionário de escultura, Lisboa, Livraria Coelho, 1937 [edição póstuma]: aqui

Sobre Machado de Castro pode ver-se uma nota biobibliográfica aqui.

quarta-feira, 21 de fevereiro de 2007

A vida dos pintores holandeses e flamengos

Carel Van Mander, Dutch and Flemish Painters, tradução de Constant van de Wall, 1936, 639 pp.

A obra do holandês Carel van Mander intitulada Schzlderboeck, publicada apela primeira vez em 1604, é uma fonte preciosa para o conhecimento da pintura do norte da Europa do século XVI e dos séculos anteriores, tal como a obra de Vasari o é para a pintura italiana. A tradução a cargo de Constant van de Wall é a edição correntemente utilizada em inglês.

Está integralmente disponível aqui.

O original holandês está disponível aqui.

Os trabalhos do pintor: 37

Gerarg Dou, século XVII.

Comportamiento de textiles utilizados como soporte de pintura

María Teresa de Urkullu Polo, Investigación del comportamiento de algunos textiles utilizados como soporte de pintura como fuente de documentación a procesos de restauración, Tese de Doutoramento, Universidad Complutense de Madrid, 1993

Índice:

Capitulo I - Las fibras textiles

  • Comienzos históricos del textil
  • Botánica de las fibras textiles naturales
  • Degradación de las fibras textiles celulósicas
  • Fibras textiles celulósicas naturales utilizadas para la elaboración de soportes de pintura
  • Fibras textiles no naturales: fibras químicas

Capitulo II - El material textil como soporte de pintura

  • El hilado y su progresiva mecanización
  • El hilo
  • El telar: orígenes y evolución
  • El tejido
  • Uso histórica de la tela como soporte de pintura. Textos históricos
  • Diversas razones que sustentan el uso de la tela

Capitulo III - Estudio científico de los soportes de tela

  • Planteamiento general
  • Prolegómenos de la cuestión: la técnica de la pintura al óleo en el siglo XIX
  • Problemática de su conservación como preludio a la que plantea el arte contemporáneo
  • Conocimiento científico del material textil y de las imprimaciones de la pintura del siglo XIX a través de la literatura tradicional
  • El estudio científico del textil
  • Diferentes pruebas de caracterización sobre nueve muestras de telas imprimadas para pintar de venta habitual en el comercio

Capitulo IV - Algunas consideraciones sobre la conservación de textiles en relación con la materia pictórica que sustentan

  • Breves notas sobre la conservación de textiles
  • Productos adhesivos y consolidantes conceptos generales
  • Testes dirigidos a conocer el tratamiento de las telas objeto de este estudio ante diversos productos empleados en la conservación de pinturas sobre tela y sometidos posteriormente a envejecimiento acelerado

Conclusiones

  • Conclusiones sobre cinco soportes textiles con imprimación de cinco pintores del siglo XIX
  • Conclusiones sobre nueve muestras comerciales de soportes textiles imprimados
  • Conclusiones sobre pruebas con productos de conservación
  • Conclusiones sobre el comportamiento ante la acción de la luz solar
  • Conclusiones finales

A tese está integralmente disponível aqui.

sábado, 17 de fevereiro de 2007

Os trabalhos do pintor: 36

David Bailly, 1651.

Microscopie Raman dans la Caractérisation de Matériaux Archéologiques: Métaux, Vitraux & Pigments

Michel Bouchard, Evaluation des Capacités de la Microscopie Raman dans la Caractérisation Minéralogique et Physicochimique de Matériaux Archéologiques : Métaux, Vitraux & Pigments, Tese de Doutoramento, Muséum National d'Histoire Naturelle, Paris, 2001

L'évaluation des capacités non-destructives de la Microscopie Raman en Archéologie est la ligne directrice de ce travail de recherche. Trois domaines ont été choisis afin d'estimer les avantages et les limites d'une telle technique d'analyse ; il s'agit de l'étude 1) des pigments issus des peintures préhistoriques, 2) des produits de corrosion de métaux d'origine archéologique et 3) des vitraux (le verre, la coloration et l'altération). Les résultats plus ou moins « positifs » selon les domaines, mettent en évidence, par exemple, les capacités de la MR à distinguer les oxydes de Mn du carbone dans les peintures noires préhistoriques ou encore, la facile identification de l'hématite ; ils permettent également de distinguer assez facilement les différentes phases d'altérations existantes sur les métaux corrodés (sulfates, oxydes, chlorures...). Enfin, si l'étude du verre et des colorations en surface offrent des résultats assez positifs (complexes de type : PbCrO4.PbO), l'identification de la coloration dans la masse des vitraux par des colloï des métalliques reste plus complexe. La fluorescence constitue également un des désavantages certain de cette méthode. Toutefois, la réussite de cette technique, dans le domaine de l'archéometrie, où elle est encore peu appliquée, permet d'entrevoir un avenir prospère et une utilité incontestable pour les archéologues, restaurateurs et conservateurs.

A tese está livremente disponível na íntegra aqui.

sexta-feira, 16 de fevereiro de 2007

Os trabalhos do pintor: 35

Annibale Carracci, cerca de 1604.

Thermal Analysis Applied to the Study of Cultural Heritage

João Pires, António João Cruz, "Techniques of Thermal Analysis Applied to the Study of Cultural Heritage", Journal of Thermal Analysis and Calorimetry, 87(2), 2007, pp. 411-415

It is increasingly important that chemistry reaches people who have not studied directly this field of science but that, daily, have practices where chemistry is involved in various extents. This is what happens, for instance, in the activities related with the study and the preservation of cultural heritage. In this sense, the present work is a short review of the particular case of techniques based on the thermal analysis and calorimetry applied within the context of the characterization of art and archeological objects, exemplified by various case studies, as the characterization of mortars, preparatory grounds, ancient painting materials and drying oils.

O artigo está disponível aqui
[acesso condicionado]

quinta-feira, 15 de fevereiro de 2007

Os trabalhos do pintor: 34

Adriaen van Ostade, século XVII.

O Livro da Arte, de Cennino Cennini

Il Libro dell Arte, concluído cerca de 1390 pelo italiano Cennini d'Andrea Cennini, discípulo indirecto de Giotto, é o tratado de pintura mais conhecido e divulgado. Publicado pela primeira vez em 1821, a ele se deve grande parte do que sabemos sobre a pintura italiana do século XIV.

Na Internet estão livremente disponíveis as seguintes edições (todas em texto):

  • 1859, edição em italiano de Gaetano Milanesi e Carlo Milanesi: aqui, aqui e aqui
  • 1933, tradução em inglês de Daniel V. Thompson: aqui

Índice da edição em inglês:

  1. The first chapter of the first section of this book
  2. How some enter the profession through loftiness of spirit, and some, for profit
  3. Fundamental provisions for anyone who enters this profession
  4. How the schedule shows you into how many sections and branches the occupations are divided
  5. How you begin drawing on a little panel; and the system for it
  6. How to draw on several kinds of panels
  7. What kind of bone is good for treating the panels
  8. How you should start drawing with a style, and by what light
  9. How you should give the system of lighting, light or shade, to your figures, endowing them with a system of relief
  10. The method and system for drawing on sheep parchment and on paper, and shading with washes
  11. How you may draw with a leaden style
  12. How, if you have made a slip in drawing with the leaden style, you may erase it, and by what means
  13. How you should paractice drawing with a pen
  14. How to learn to cut the quill for drawing
  15. How you should advance to drawing on tinted paper
  16. How the green tint is made on paper for drawing; and the way to temper it
  17. How you should tint kid parchment, and by which method you burnish it
  18. How you should tint paper turnsole color
  19. How you should tint paper with an indigo tint
  20. How you should tint papers with reddish color, or almost peach color
  21. How you should tint papers with flesh color
  22. How you should tint papers greenish gray, or drab
  23. How you may obtain the essence of a good figure or drawing with tracing paper
  24. The first way to learn how to make a clear tracing paper
  25. A second way to make tracing paper: with glue
  26. How to make tracing paper out of paper
  27. How you should endeavor to copy and draw after as few masters as possible
  28. How, beyond masters, you should constantly copy from nature with steady practice
  29. How you should regulate your life in the interests of decorum and the condition of your hand; and in what company; and what method you should first adopt for copying a figure from high up
  30. How you should first start drawing on paper with charcoal, and take the measurement of the figure, and fix it with a silver style
  31. How you should draw and shade with washes on tinted paper, and them put lights on with white lead
  32. How you may put on lights with washes of white lead just as you shade with washes of ink
  33. How to make good and perfect and slender coals for drawing
  34. About a stone which has the character of charcoal for drawing. This ends the first section of this book
  35. The secnd section of this book: bringing you to the working up of the colors
  36. This shows you the natural colors, and how you should grind black
  37. How to make various sorts of black
  38. On the character of the red color called sinoper
  39. How to make the red called cinabrese, for doing flesh on the wall; and about its character
  40. On the character of the red called vermilion; and how it should be worked up
  41. On the character of a red called red lead
  42. On the character of a red called hematite
  43. On the character of a red called dragonsblood
  44. On the character of a red called lac
  45. On the character of a yellow color called ocher
  46. On the character of a yellow color called giallorino
  47. On the character of a yellow called orpiment
  48. On the character of a yellow which is called realgar
  49. On the character of a yellow called saffron
  50. On the character of a yellow called arzica
  51. On the character of a green called terre-verte
  52. On the character of a green called malachite
  53. How you make a green with orpiment and indigo
  54. How you make a green with blue and giallorino
  55. How you make a green with ultramarine blue
  56. On the character of a green called verdigris
  57. How you make a green with white lead and terre-verte; or lime white
  58. On the character of lime white
  59. On the character of white lead
  60. On the character of azurite
  61. To make an imitation of azurite with other colors
  62. On the character of ultramarine blue, and how to make it
  63. The importance of knowing how to make brushes
  64. How to make minever brushes
  65. How you should make bristle brushes, and in what manner
  66. How to keep minever tails from getting moth-eaten. This ends the second section of this book; begins the third
  67. The method and system for working on a wall, that is, in fresco ; and on painting and doing flesh for a youthful face
  68. The method for painting an aged face in fresco
  69. The method for painting various kinds of beards and hair in fresco
  70. The proportions which a perfectly formed man's body should possess
  71. The way to paint a drapery in fresco
  72. The way to paint on a wall in secco; and the temperas for it
  73. How to make a violet color
  74. To execute a violet color in fresco
  75. To try to imitate an ultramaine blue for use in fresco
  76. To paint a purple or turnsole drapery in fresco
  77. To paint a shot green drapery in fresco
  78. To paint in fresco a drapery shot with ash gray
  79. To paint one in secco shot with lac
  80. To paint one in fresco or in secco shot with ocher
  81. To paint a greenish-gray costume in fesco or in secco
  82. To paint a costume, in fresco and in secco, of a greenish-gray color like the color of wood
  83. To make a drapery, or a mantle for Our Lady, with azurite or ultramarine blue
  84. To make a black drapery for a monk's or fiar's robe, in fresco and in secco
  85. On the way to paint a mountain, in fresco or in secco
  86. On the way to paint trees and plants and foliage, in fresco and in secco
  87. How buildings are to be painted, in fresco and in secco
  88. The way to copy a mountain from nature. This ends the third section of this book
  89. How to paint in oil on a wall, on panel, on iron, and where you please
  90. How you should start for working in oil on a wall
  91. How you are to make oil, good for a tempera, and also for mordants, by boiling with fire
  92. How good and perfect oil is made by cooking in the sun. p . 59.
  93. How you should work up the colors with oil, and employ them on the wall
  94. How you should work in oil on iron, on panel, on stone
  95. The way to embellish with gold or with tin on a wall
  96. How you should always make a practice of working with fine gold and with good colors
  97. How you should cut the golden tin, and embellish
  98. How to make green tin for embellishing
  99. How to make the golden tin, and how to lay fine gold with this vermeil
  100. How to fashion or cut out the stars, and put them on the wall
  101. How you can make the diadems of the saints on the wall with this tin gilded with fine gold
  102. How you should model up a diadem in lime mortar on a wall
  103. How from the wall you enter upon panel-painting. This ends the fourth ssection of this book
  104. The system by which you should prepare to acquire the skill to work on panel
  105. How you make batter or flour paste
  106. How you should make cement for mending stones
  107. How to make cement for mending dishes of glass
  108. How fish glue is used, and how it is tempered
  109. How goat glue is made, and how it is tempered; and how many purposes it will serve
  110. A perfect size for tempering gessos for anconas or panels
  111. A size which is good for tempering blues and other colors
  112. To make a glue out of lime and cheese. This ends the fifth section of this book
  113. How you should start to work on panel or anconas
  114. How you should put cloth on a panel
  115. How the flat of a panel should be gessoed with the slice with gesso grosso
  116. How to make the gesso sottile for gessoing panels
  117. How to gesso an ancona with gesso sottile; and how to temper it
  118. How you may gesso with gesso sottile without having gessoed with gesso grosso first
  119. How you should temper and grind gesso sottile for modeling
  120. How you should start to scrape down an ancona flat gessoed with gesso sottile
  121. How the gesso sottile on the flats should be scraped down, and what these scrapings are good for. p . 74.
  122. How to draw on panel with charcoal, to begin with, and to fix it with ink
  123. How you should mark out the outlines of the figures for gilding the grounds
  124. How to model on a panel with gesso sottile, and how to mount precious stones
  125. How you should cast a relief for embellising areas of anconas
  126. How to plaster reliefs on a wall
  127. How to model with mortar on a wall the way you model with gesso on panel
  128. How to take reliefs from a stone mold, and how they are good on wall and on panel
  129. How you may model on a wall with varnish
  130. How you may model on a wall with wax
  131. How to lay a bole on panel, and how to temper it
  132. Another way to temper bole on panel, for gilding
  133. How you may gild on panel with terre-verte
  134. How to gild on panel
  135. What stones are good for burnishing this gilding
  136. How to prepare the stone for burnising gold
  137. How you should burnish the gold, or mend matters in case it could not get burnished
  138. Now I will show you how to burnish, and in what direction, especially a flat
  139. What gold is good for burnish and mordant gilding, and what thickness
  140. How you should begin swinging the diadems and do stamping on the gold, and mark out the outlines of the figures
  141. How to design gold brocades in various colors
  142. How to execute gold or silver brocades
  143. Several rules for cloths of gold and silver
  144. How to do velvet, wool, and silk
  145. How to paint on panel
  146. How to make draperies in blue and purple
  147. How to paint faces
  148. How to paint a dead man
  149. How to paint wounds
  150. How to paint water
  151. A Short section on mordant gilding. How to make a standard mordant, and how to gild with it
  152. How to control the drying of the mordant
  153. How to make a mordant out of garlic
  154. Introduction to a short section on varnishing
  155. When to varnish
  156. How to apply the varnish. p . 99.
  157. How to make a painting look as if it were varnished
  158. A short section on illuminating: first to gild on parchment
  159. Another kind of size: for grounds only
  160. How to make and use mosaic gold
  161. How to grind gold and silver for use as colors
  162. Colors for use on parchment
  163. A section dealing with work on cloth: first, painting and gilding
  164. Various ways to do hangings
  165. How to draw for embroiderers
  166. How to work on silk, on both sides
  167. How to paint and gild on velvet
  168. How to lay gold and silver on woolen cloth
  169. How to make devices out of gilded paper
  170. How to model crests or helmets
  171. How to do caskets or chests
  172. A short section on operations with glass: first, for windows
  173. How to gild glass for reliquary ornaments
  174. Arrangements for drawing on this glass
  175. How to draw on the gilded glass
  176. How to scrape the gold off the backgrounds
  177. How to back up the drawing with colors
  178. Part of a section dealing with mosaic: first, a fragment from the end of a chapter otherwise lost
  179. Mosaic of quill cuttings
  180. Mosaic of crushed eggs shells, painted
  181. Mosaic of paper or foil
  182. Moasic of eggshells, gilded
  183. A section dealing with miscellaneous incidental operations: first, block printing on cloth
  184. How to gild a stone figure
  185. The dangers of a wet wall for fresco
  186. Preminary precautions against moisture
  187. Waterproofing with boiled oil
  188. Waterproofing with pitch
  189. Waterproofing with liquid varnish
  190. How to distemper inside walls with green
  191. How to varnish terre-verte
  192. How to clean off the paint after you have made up a face
  193. The perils of indulgence in cosmetics
  194. The final section, devoted to methods of casting, begins here
  195. How to take a life mask
  196. The breathing tubes
  197. The operations of casting the matrix
  198. How to cast this waste mold
  199. How to cast whole figures
  200. How to make a cast of your own person
  201. Castings in gesso for use on panel
  202. How to cast medals
  203. How to make a mold from a seal or coin

quarta-feira, 14 de fevereiro de 2007

Os trabalhos do pintor: 33

David Ryckaert, 1638.

Nuno Gonçalves e a sua obra,
segundo José de Figueiredo

Uma das obras incontornáveis sobre o pintor quatrocentista Nuno Gonçalves e o famoso políptico, actualmente no Museu Nacional de Arte Antiga, que lhe é atribuído, é o livro de José de Figueiredo, publicado em 1910, intitulado precisamente O Pintor Nuno Gonçalves.

No entanto, a respeito dos materiais, muito do que é aí dito foi desmentido pelos estudos laboratoriais entretanto realizados. Essa situação é discutida em António João Cruz, "Do certo ao incerto: o estudo laboratorial e os materiais do políptico de S. Vicente", in Nuno Gonçalves. Novos Documentos. Estudo da pintura portuguesa do séc. XV, Lisboa, Instituto Português de Museus - Reproscan, 1994, pp. 41-45, cujo texto está acessível aqui.

Índice:

Parte primeira

  • Historia dos paireis quatrocentistas do Patriarchado, conhecidos pelos «paineis de S. Vicente»; noticia dos vandalismos que sofreram e da sua restituição ao estado primitivo; sua identificação com o retabulo quatrocentista do altar de S. Vicente da Sé de Lisboa
  • Personagens representados nos paineis. - Significado histórico da obra de Nuno Gonçalves
  • Nuno Gonçalves; a sua rubrica; documentos relativos á sua vida artística
  • Madeiras nacionaes e extrangeiras; valor d’este elemento para a nacionalização da obra d'arte

Parte segunda

  • Os paineis; sua analyse. – A obra de Muno Gonçalves e a dos pintores neerlandezes e italianos da epocha. - Qualidades e defeitos dos paineis. – Nuno Gonçalves como colorista; o retratista; o decorador; sua concepção do claro-escuro; singularidade e superioridade dos seus processos technicos. – Discriminação da obra de Nuno Gonçalves da do seu ou seus collaboradores
  • A evolução da pintura primitiva portugueza e os paineis de S. Vicente. – O pintor Jean Malouel; caracter cosmopolita da sua obra.– A origem do naturalismo na pintura portugueza: Nuno Gonçalves e mestre Antonìo Florentim. – A escola dos Van Eyck e a de Giotto; a influencia italiana do «trecento» e a neerlandeza na obra de Nuno Gonçalves; caracter nacional da obra d'este pintor
  • Origem da nossa arte da pintura: Arte Gallega e Portugueza; sua absoluta identidade; a pintura a «fresco» áquem e alem Minho; influencia d'este processo de pintar na evolução da pintura portugueza. – O Painel do Convento de Belvis (Galliza). Identidade do modo particularissimo de «preparar» as taboas em Nuno Gonçalves e em alguns artistas portuguezes accentuadamente regionaes, da primeira metade do seculo XVI. – A arte portugueza a partir da dynastia de Aviz: D. João I. Os Infantes D. Pedro e D. Henrique; seu amor pelas coisas d’arte. D. Affonso V; temperamento e cultura artística d’este Rei; noticia de alguns pintores que trabalharam no seu reinado. – A escola de pintura primitiva catalã e a portugueza – Alvaro de Pedro, Taddeo Bartoli e mestre Antonio Florentim
  • Conclusão: existencia de uma escola primitiva de pintura portugueza; sua divisão em dois períodos; seu caracter

O livro está integralmente disponível aqui.

 

terça-feira, 13 de fevereiro de 2007

Os trabalhos do pintor: 32

Eugénio de Frias, 1609

Benvenuto Cellini online

Obras literárias de Benvenuto Cellini (1500–1571), ourives e escultor italiano, livremente disponíveis na Internet:

 

Tratados de ourivesaria e escultura

Edições em italiano:

  • Torino, 1971: aqui (texto)

Índice:

Dell'oreficeria

  • Dell'arte del niello
  • Il lavorar di filo
  • Dell'arte dello smaltare
  • Gioiellare
  • Come si debbe acconciare un rubino
  • Come si debbe acconciare lo smeraldo ed il zaffino
  • Come si fa la foglia che serve a tutte le gioie trasparenti
  • Come s'acconcia il diamante
  • Come si fa la tinta a' diamanti
  • Come si fa lo specchietto che si dà a' diamanti
  • De' rubini bianchi e carbonculi
  • Lavorare di minuteria
  • De' suggelli cardinaleschi
  • Il modo di far medaglie
  • Delle medaglie
  • Come si debbono stampare le dette medaglie
  • Altro modo di stampar medaglie
  • Del modo di lavorare di grosserie di oro, di argento
  • Il modo come si comincia un vaso
  • Un altro modo migliore di fondere
  • Un altro fornello ancora in Castello Sant'Angiolo di Roma
  • Per tirare vasellami di oro e d'argento
  • Un altro modo di argento o oro per cotai cose
  • Un altro modo per simil cose sopra dette
  • Delle figure che si sono fatte d'argento maggiori del vivo
  • Modo di dorare
  • Ricetta da far colori per colorire dove sarà dorato
  • Ricetta per far un'altra sorte di colore
  • A fare un altro colore per il dorato
  • Modo di fare la cera per il dorato
  • Per fare un altro colore
  • Modo di dare il detto colore
  • Volendo lasciare bianco lo argento in alcuni luoghi
  • Per fare acqua forte di due sorte
  • Per fare l'acqua da partire
  • Per fare il cimento reale

Della scultura

  • Dell'arte del getto dei bronzi
  • Come si fa la terra sopradetta
  • Un altro modo si usa per fare figure di bronzo di getto
  • Del modo di far le fornaci per fondere il bronzo
  • Per far figure e intagli e altre opere in marmo
  • De' marmi di Carrara
  • Per ragionare dei colossi mezzani e grandi
  • Segreto per fare i gran colossi

 

Discursos

Edição em italiano:

  • Torino, 1971: aqui (texto)

Índice:

  • Sopra l'arte del disegno
  • Della architettura
  • [Sulle esequie del Buonarroti]
  • [Sopra l'arte del disegno. Frammento]

 

Autobiografia

Edições em italiano:

Traduções em ingles:

  • John Addington Symonds, New York, s/d: aqui
  • Thomas Nugent, London, 1828: volume 1: aqui; volume 2: aqui
  • Thomas Nugent, London, 1829: volume 1: aqui
  • Thomas Roscoe, London, 1850, aqui
  • John Addington Symonds, London, 1888: volume 1: aqui ou aqui
  • John Addington Symonds, London, 1900: volume 1: aqui; volume 2: aqui
  • John Addington Symonds, New York, 1910: aqui (texto)
  • John Addington Symonds, London, 1925: aqui
  • Robert H. Hobart Cust, London, 1927: volume 1: aqui; volume 2: aqui
  • John Addington Symonds, New York, 1936: aqui ou aqui
  • John Addington Symonds, New York, 1942: aqui ou aqui
  • John Addington Symonds, 1948: aqui ou aqui (ilustrado por Salvador Dali)
  • John Addington Symonds, New York, 1960: aqui

segunda-feira, 12 de fevereiro de 2007

Os trabalhos do pintor: 31

Heemskerck, 1532.

O ensino do desenho na Academia Imperial de Belas Artes do Rio de Janeiro e o acervo do Museu D. João VI

Patricia Rita Cortelazzo, O ensino do desenho na Academia Imperial de Belas Artes do Rio de Janeiro e o acervo do Museu D. João VI, Campinas, Universidade Estadual de Campinas, 2004

Este trabalho teve como objetivo analisar o ensino do desenho na Academia Imperial de Belas Artes do Rio de Janeiro no período compreendido entre o ano de 1826, quando têm início oficial as aulas da Academia, e o ano de 1851, com o fim da gestão de Félix Emile Taunay. Inicialmente examinamos a situação do ensino artístico nacional, no período que antecedeu a vinda da Família Real ao Brasil e como se dava, nessa época, o ensino do desenho nas Academias Européias de maior destaque. Em seguida, foram apresentadas as principais propostas que nortearam o trabalho dos alunos da Academia, apontando as disciplinas estudadas e a metodologia utilizada. Através das obras localizadas e catalogadas, foi feita uma breve análise das características do ensino do desenho sob influência da arte acadêmica.

A tese está livremente disponível aqui.
[É necessário registo]

Secco Suardo sobre a descoberta da pintura a óleo

Giovanni Secco Suardo (1798-1873) é um nome conhecido da história do restauro. Há inclusivamente uma associação com o seu nome: Associazione Giovanni Secco Suardo per la Conservazione e il Restauro dei Beni Culturali.

Neste momento está disponível online uma obra sua sobre a história da pintura de cavalete:

Giovanni Secco Suardo, Sulla Scoperta ed Introduzione in Italia dell'Odierno Sistema di Dipingere ad Olio, Milano, Giuseppe Bernardoni, 1858

A obra está livremente acessível aqui.

domingo, 11 de fevereiro de 2007

Os trabalhos do pintor: 30

Blondell, 1545.

Principios para la representación de la figura humana según los tratadistas de arte españoles

Ocaña Martínez, José Antonio, Principios antropométricos, anatómicos y otros métodos para la representación de la figura humana según los tratadistas de arte españoles (el siglo XVII, deudas e influencias), Tese de Doutoramento, Universidad Complutense de Madrid, 2001

Entorno a mas de dos mil imágenes, se reunen los principios a seguir por pintores y escultores para representar la figura humana según las explicaciones de los tratadistas españoles del siglo XVII y su contexto. Asi son estudiadas las citas de Sagredo, Holanda, Velasco, Arfe, Cespedes, Nunes, Carducho, Pacheco, Martinez, Salvador y Gomez, Caramuel, Garcia, Martinez y Sorli, Garcia Hidalgo, Palomino e Irala, con referencias al entorno europeo. Queda probado el papel de la figura humana como fuente de inspiracion de los artistas plasticos representada en dibujos, pinturas y estampas europeas, siendo el modelo masculino del que se obtenian las mejores consideraciones formales y esteticas. No sucedió lo mismo con el femenino pues los criterios moralizantes españoles impedian representaciones que violaran la decencia y el pudor exigido. De la simetria se confeccionan unos cuadros comparativos con las propuestas antropometricas fundamentales. En anatomía se constata que las clasicas obras de Vesalio y Valverde de Hamusco fueron los referentes de estudio ostelógico y miólogico por parte de los artistas españoles y los trabajos de Crisóstomo Martinez o Juan A. Ricci no tuvieron el eco que merecian. Enfrente se situan las numerosas ediciones de anatomistas europeos en cuyas imágenes colaboraron importantes artistas. Consta una especial recopilacion de las cartillas conocidas y se tratan los modelos de bulto, en sus distintas manifestaciones. Los mas sugerentes son los maniquies, que, como utiles de trabajo, fueron poco estimados por los historiadores a pesar del altisimo precio que se pagaban por ellos, habiendo desaparecido en su mayoria. Por ultimo, se analizan otros metodos, como fundamento practico en el trazado de la figura humana: es el caso de escorzo, la cuadricula, los instrumentos de dibujo, el virtuosismo de anamorfosis, de escaso arraigo, o la antropometria arquitectonica de importancia mas teorica que practica para los artistas

A tese está disponível na íntegra aqui.

sábado, 10 de fevereiro de 2007

De volta

Após 48 horas sem acesso à internet, o blogue está novamente activo.

Os trabalhos do pintor: 29

Leandro Bassano, cerca de 1590.

Mais edições de Vitrúvio online: 2

A juntar às 23 edições do livro De Architectura, de Marco Vitrúvio Polião, já mencionadas aqui e aqui, segue a lista com mais cinco edições disponíveis livremente online do livro técnico que provavelmente conheceu mais edições:

  • 1629, Venetia, Daniel Barbaro, aqui
  • 1649, Amstelodami, aqui
  • 1747, Venezia, Perrault/Barbaro, aqui
  • 1796, Leipzig, August Rode, aqui

Curiosamente, há um número muito significativo de visitantes deste blog que aqui chegam precisamente à procura do Vitrúvio, através de um motor de busca.

Recent developments and new perspectives of Ion Beam Analysis for Cultural Heritage

Novella Grassi, Recent developments and new perspectives of Ion Beam Analysis for Cultural Heritage, Tese de Doutoramento, Università Degli Studi di Firenze, 2005

Since the middle of the Eighties, the main activity of the group of applied nuclear physics in Florence has been the development of analytical techniques based on the use of accelerated particles (Ion Beam Analysis, IBA), and their application for investigating in a non destructive way the composition of materials in different fields. Among these, particular experience has been attained by the group in the field of Cultural Heritage, and in the past twenty years a large variety of works were analysed in collaboration with many Institutions in Europe, and Italy in particular, such as the Laboratoire de Recherche des Musées de France at the Louvre, the Max Planck Institut für Wissenschaftsgeschichte in Berlin, the National Library and the Laurentian Library in Florence, the Vatican Library, and the Opificio delle Pietre Dure. With OPD in particular, a very close and continuous collaboration was established.

Also thanks to a non-negligible contribution of the Florence group to their development, IBA techniques using an external beam set-up are currently regarded as “standard” techniques for analysis in many fields of art and archaeology, and they are extensively and successfully applied also in other laboratories in the world. Besides applications in the standard set-ups, the interest of the Florentine group in the latest years has been directed to develop innovative improvements in the instrumentation and to test the new perspectives arising just from the new instrumentation.

This work reports the most significant results of all my activity during the last three years. In Chapter 1, the main features of Ion Beam Analysis techniques are briefly recalled and the new Florence accelerator laboratory is presented, with particular focus on the perspectives of development a priori offered for applications in the field of Cultural Heritage.

Chapter 2 illustrates how stratigraphy of layered materials can be investigated using proton beams of different energies (with the technique of differential PIXE - Particle Induced X-ray Emission); in particular, merits and limits for the analysis of paintings (a field not often investigated by IBA) are pointed out. We had the opportunity of applying differential PIXE and PIGE (Particle Induced Gamma-ray Emission) on two paintings of great artistic value: the extensive study on the “Madonna dei fusi” by Leonardo da Vinci and preliminary results from “Ritratto Trivulzio” by Antonello da Messina will be described.

In Chapter 3 the analytical quantitative potential of PIGE for determination of light element concentration is thoroughly discussed. For the specific case of Na quantification in glass matrices, results of measurements on glass standards are presented. Measurements on glass tesserae from the excavations of the Roman complex of Villa Adriana (Tivoli) are then described, as an example of the great advantage of combining PIXE and PIGE for obtaining quantitative results. The perspective of performing PIGE at higher beam energies with respect to the standard 3 MeV value is discussed in the final paragraph, where the first measurements carried out at higher energies with the new Tandetron accelerator are also reported.

Finally, Chapter 4 introduces a new procedure for Ion Beam Analysis in the archaeometric field, which enables elemental imaging; compositional maps are obtained by scanning the object under analysis with a beam size of the order of hundred microns. The usefulness of such a way of performing IBA (rather than “point” analysis) for obtaining more reliable and unambiguous results is verified by tests on ancient inks, Roman glass and metal point drawings.

A tese está livremente disponível na íntegra aqui.

sexta-feira, 9 de fevereiro de 2007

Interrupção

Graças ao excelente serviço prestado pela Cabovisão / Netvisão e pelo seu excelente serviço de apoio ao cliente estou sem o habitual acesso à internet há mais de 24 horas.

Por isso o blogue tem estado sem a sua regular actividade.

Logo que possível, o blogue continuará.

quarta-feira, 7 de fevereiro de 2007

Os trabalhos do pintor: 28

Giorgio Vasari, cerca de 1565.

Nuclear non-invasive methods for the study of materials of archaeometric interest

Alessandro Migliori, Nuclear non-invasive methods for the study of materials of archaeometric interest, Tese de Doutoramento, Università Degli Studi di Firenze, 2004

Among the various analytical techniques applied to the study of works of art, Ion Beam Analysis (IBA) investigations are assuming an increasing importance. The main aspect that makes these techniques so suitable for the analysis of this kind of objects is their non-destructive character. Among IBA, PIXE is generally the most applied in the field of Cultural Heritage, but also PIGE and RBS are used to obtain peculiar information.

This thesis work is dedicated to the implementation of experimental set-ups and of data analysis procedures that can exploit at best the potentials of IBA techniques.

In the first Chapter I introduce the features of IBA techniques that are most widely used in the study of works of art. I report in some detail the advantages and the limitations of these analytical techniques when applied in the field of Cultural Heritage. The performance of PIXE is compared to other techniques, widely used in Archaeometry, based on X-ray spectroscopy. A generic outlook of the works of art most suitable to be analysed by IBA techniques is then reported. I finally briefly describe the main characteristics of the old and the new accelerator exploited by our research group, focusing particularly on the improvements obtained with the latter.

Chapter 2 is dedicated to the development of systems for the measurement of beam current; monitoring this parameter is very important for both maintaining safe measuring conditions (avoiding damage due to proton irradiation) and obtaining quantitative results from IBA spectra. Two systems developed as indirect beam current meters are described, and results are reported concerning the correlation between beam parameters and the characteristics of the damage induced by proton irradiation on glazed ceramics.

In the third Chapter I discuss about the extraction of quantitative results from PIXE spectra. My attention is focused on data processing by means of a particular software package, GUPIX, which is considered to provide the most reliable results in the analysis of PIXE spectra. An application to the analysis of glazed ceramics is reported. Finally, I introduce the portable PIXE system, developed in another laboratory, and report about a campaign of in-situ measurements, performed with this apparatus, to which I collaborated.

In Chapter 4 I discuss a particular situation arising when analysing a wood or canvas painting. The presence of the protective varnish is a problem for the application of some analytical techniques; in particular, the effectiveness of PIXE for the analysis of pigment layers is limited by the absorption of soft X-rays in the varnish. Pigments characterized by light elements, like lapis-lazuli, can be instead identified by PIGE; the varnish composition can be determined by differential PIXE and its possible contribution to PIXE and PIGE spectra taken into account. I report about a first application to the painting “Madonna dei fusi” by Leonardo da Vinci.

Chapter 5 is dedicated to the application of PIXE to the study of metal point drawings. The particular structure of these works of art requires the use of a proton beam with very small dimensions. The micro-beam facility installed in our laboratory and its performance are described, and I present preliminary applications to samples prepared by restorers of the Opificio delle Pietre Dure, to find the best measuring conditions just in view of future campaigns of analysis on metal point drawings.

The sixth Chapter deals with analyses performed on damaged frescoes. First, I discuss some results of the campaign on paintings in the Cortile di Michelozzo in Palazzo Vecchio in Florence: we analysed by micro-PIXE the composition of some samples picked up from one of the frescoes. Finally, I report about the analysis of samples picked up from VIII-IX century frescoes of the Longobard temple of Cividale del Friuli in North-Eastern Italy.

A tese está livremente disponível na íntegra aqui.

Genuine and Counterfeit

Max J. Friedländer, Genuine and Counterfeit. Experiences of a Connoisseur, New York, Albert & Charles Boni, 1930, 109 pp.

Prefácio:

Eight articles, five of which have come out in the magazine "Kunst und Kunstler," (Art and Artist) appear here bundled together as a book and with a title. Although having different points of departure, they belong together, all of them centering around the question of genuineness.

The harassed reader may wonder that I, at times, make so much ado about language. I ask him to reflect that the only bridge between us is one of words. Moreover, in looking at a thing, we measure what we see in concepts, and concepts can be expressed in words only. Our language is an heritage which we must earn in order to possess; we only get beyond our forefathers when we extend and shift the track of words on which the concepts roll along.

Índice:

  • Concerning the opinion of experts
  • On the restoring of old pictures
  • The forgery of old pictures
  • The pictorial and the picturesque
  • Form and color
  • Originality
  • Style and manner
  • Development and influence

O livro está disponível integralmente aqui.

terça-feira, 6 de fevereiro de 2007

Os trabalhos do pintor: 27

Desenho de Jan van der Straet segundo gravura de Joannes Galle, século XVI.

On Art and Connoisseurship

Max J. Friedlander, On Art and Connoisseurship, London, Bruno Cassirer, 1942, 284 pp.

Da introdução de Tancred Borenius:

Among art historians of today there is hardly anyone who enjoys a position comparable to that of Dr. Max J. Friedlander. He is universally recognized as being probably the greatest living expert, notably, of course, on the early Netherlandish and German masters; and in normal times not a day passed on which pictures were not submitted to him for opinion from all parts of the world. But he is much more than the mere, if accomplished, expert, worried without respite by people eager for his verdict on their possessions: the list of his writings all of them revealing the outlook of the born historian makes a truly imposing series, culminating in his monumental History of Early Netherlandish Painting issued from 1924 onwards in fourteen substantial volumes. And for a long time the whole of this ceaseless activity had for its background Dr. Friedlander's connection with the Berlin Picture Gallery and Print Room: their marvellous growth during the period in question owes in fact an enormous debt to the distinguished scholar, whose career as an official came to an end in 1933, when Dr. Friedlander relinquished the post as Head of the great Picture Gallery, to which he had been appointed as Wilhelm von Bode's successor. It is, indeed, the very aroma of that institution in its best days which pervades the whole activity of one of the greatest of those who stand to it in the relation of at once alumnus and creator. The opinions on art and connoisseurship, which represent the ultimate wisdom and considered judgment of a man whose performance has here been summarily outlined, must inevitably be of the most profound interest; and it is, indeed, a matter of congratulation that Dr. Friedlander should have made them accessible to a much larger audience than that of those friends in many lands who have been admitted to the privilege of his conversation. The views expressed in the present volume obviously derive a peculiar significance from the author's first-hand contact with the problems concerned, as well as from his power of independent thinking.

Índice:

  1. Seeing, perceiving, pleasurable contemplation 19
  2. Existence, appearance, objective interest in things 32
  3. Art and symbol 39
  4. Form, colour, tonality, light, gold 43
  5. The concept of ‘pictorial’ 53
  6. Size and scale, distant view and near view 58
  7. On linear perspective 64
  8. Movement 69
  9. Truth to nature, artistic value and style 75
  10. Individuality and type 84
  11. On beauty 87
  12. On composition 91
  13. On the picture categories 97
  14. Religious and secular history in painting 100
  15. The nude 104
  16. Genre painting 108
  17. Landscape 113
  18. Portraiture 124
  19. Still life 131
  20. The artist: genius and talent 134
  21. Art and erudition 143
  22. The standpoint of the spectator 155
  23. On the value of the determination of authorship 160
  24. On the objective criteria of authorship 163
  25. On intuition and the first impression 172
  26. Problems of connoisseurship 179
  27. The analytical examination of pictures 184
  28. On the use of photography 197
  29. On personality and its development 200
  30. On the anonymous masters, the medium masters and the lesser masters 213
  31. The study of drawings 218
  32. Influence 222
  33. Artistic quality: original and copy 230
  34. Deductions a posteriori from copies regarding lost originals 246
  35. Workshop production 250
  36. On forgeries 258
  37. On restorations 267
  38. On art literature 273

O livro está disponível integralmente aqui.

segunda-feira, 5 de fevereiro de 2007

Os trabalhos do pintor: 26

Caterina van Hemessen, 1548.

Analysis of Craquelure Patterns for Content-Based Retrieval

Fazly Salleh Abas, Analysis of Craquelure Patterns for Content-Based Retrieval. Tese de Doutoramento, University of Southampton, 2004

The advent of multimedia technology has offered a new dimension in computerised applications. Art-based applications are among those which have and will continue to benefit from this advancement. Content-based image retrieval (CBIR) and analysis is attracting attention from museums and art institutions. One of the image-based requirements from museums is to automatically classify craquelure (cracks) in paintings for the purpose of aiding damage assessment using non-destructive monitoring and testing. Craquelure in paintings can be an important element in judging authenticity, use of material as well as environmental and physical impact, which these can contribute to different craquelure patterns. Mass screening of craquelure patterns will help to establish a better platform for conservators to identify cause of damage and a content-based approach is seen as an appropriate path.

This thesis covers the issues of crack enhancement and detection, using a mathematical morphology technique, namely the top-hat operator and also a grid-based automatic thresholding. Craquelure representation aids the processes of craquelure pattern analysis in which the Freeman chain-code is used as a basis for converting the image-based representation into a hierarchically structured numerical form. This hierarchical representation offers several advantages in the sense that detected craquelure patterns can be pruned, according to a certain rule for eliminating suspected noise and insignificant structures. Information can be retrieved in a flexible way, given multi-level access into structural detail. A grouping technique determines ‘objects-of-interest’ and structured craquelure patterns, named crack-networks are grouped using proximity and characteristic rules. Craquelure patterns are generalised by utilising conservative approximations based on the minimum bounding rectangle (MBR) and rotated minimum bounding rectangle (RMBR). Meaningful features based on orientation histograms and structural statistics are extracted to distinguish between craquelure patterns. The resultant features are used as inputs for a three-stage average distance k-nearest neighbour (k-NN) classifier with fuzzy outputs where the goal is to produce class memberships. A prototype architecture of a craquelure retrieval system is also discussed.

A tese está integralmente disponível aqui.

domingo, 4 de fevereiro de 2007

Os trabalhos do pintor: 25

Cerca de 1520.

The Materials and Techniques of Medieval Painting

Publicado pela primeira vez em 1936, o livro The Materials and Techniques of Medieval Painting, de Daniel V. Thompson, continua a ser uma obra de referência sobre os materiais e as técnicas da pintura medieval. Não obstante alguma inevitável desactualização, constitui a única visão de conjunto sobre esse tema e continua a ser de consulta obrigatória. Essa mesma razão explica que o livro tenha conhecido múltiplas reedições por parte da Dover Publications, a partir de 1956, e que ainda hoje continue à venda.

Esta é uma das obras mais conhecidas de Daniel V. Thompson. A outra é a tradução que em 1933 publicou do Il Libro dell’Arte, de Cennino Cennini, de cerca de 1390, que constitui a edição de referência em língua inglesa desse tratado que tanta informação proporciona sobre a os materiais e as técnicas da pintura medieval praticada em Itália. Uma outra obra sua que também teve uma divulgação significativa, ainda que menor do que as duas anteriores, é o livro The Practice of Tempera Painting, de 1936. Qualquer um dos volumes está disponível no catálogo da Dover Publications.

The Materials and Techniques of Medieval Painting está disponível livremente na internet em duas edições. A primeira edição, de 1936, está aqui. A primeira edição da Dover Publications, de 1956, está aqui.

Prefácio:

This volume is designed for those who care for what my dearest enemy calls “the cookery of art,” for those who wonder about the natures and the sources of the materials out of which painters in the Middle Ages compounded objects that we still cherish. I have developed elsewhere the thesis that style and technique are inseparable, and this enquiry into cookery, this sojourn in the kitchen, would be unwarranted if it did not lead to some slightly more keen or intelligent appreciation of the finished dishes. “‘Style and technique are inseparable,’” writes my learned friend M. Henri Focillon: “Voilá la vérité, que méconnaissent seuls ceux oui travaillent du dehors.”

The functions of technique in the development of styles of architecture have long been recognized. The technical bases of design and ornament in pottery, glass, textiles, and metalwork are regularly seen in something like their true perspective. The late Dr. Josef Meder of Vienna brought great judgment and penetradon to the unit study of technique and style in drawing; and the considerations of material and manipulation which affected the evolution of style in early woodcuts have been set forth brilliantly and estimated sagaciously by Mr. Arthur Hind of the British Museum within the last few months. It is not possible as yet to see the relationships of style and technique in medieval painting with such clarity; for the technical elements are more complicated and more obscure. This little book can by no means make them clear; but it may answer some of the questions which acquaintance with medieval paintings always raises. I hope that the answers will be found free both from pedantry and from romantic surmise.

Postponing the great issues of technical manipulation, I have discussed here only the materials of painting in medieval Europe. I have tried to assess the present state of our knowledge, and to incorporate some measure of new understanding drawn from a study of many unpublished medieval documents, as well as to review the content of such medieval writings on art-technology as have been edited. This literary evidence has been examined wherever possible in the light of experimental and analytical evidence. By far the largest and most orderly body of analytical observation of medieval painting materials so far available has been presented by Dr. A. P. Laurie, whose studies in the physical nature of medieval paintings provide invaluable assistance in the interpretation and estimation of the documents. A large part of this book is based upon a course of lectures, "Technique in Medieval Art," given in the autumn of 1935 at the Courtauld Institute of Art in the University of London, and I owe to that Institute's Director, Professor W. G. Constable, both the incentive to formulate this study and encouragement to publish it.

Índice:

  • Introduction
  • Carriers and grounds
  • Binding media
  • Pigments
  • Metals

sábado, 3 de fevereiro de 2007

Os trabalhos do pintor: 24

Cerca de 1510.

El oro en hoja

Laura de la Colina Tejeda, El oro en hoja. Aplicación y tratamiento sobre soportes móviles tradicionales, muro y resinas, Tese de Doutoramento, Universidad Complutense de Madrid, 2001

La tesis es una investigación sobre los diversos tipos de procedimientos tradicionales del dorado a la hoja sobre soportes portátiles y muro, así como la puesta en práctica de un nuevo procedimiento de dorado apto para poder ser aplicado sobre resinas sintéticas. Se incluyen técnicas de policromías, barnices y acabados, así como una extensa documentación fotográfica de los proceso.

A tese está integralmente disponível aqui.

sexta-feira, 2 de fevereiro de 2007

A arte da pintura a fresco no maneirismo alentejano

Os trabalhos do pintor: 23

Maerten van Heemskerck, cerca de 1532.

Painted Wood: History and Conservation

A acrescentar aos livros já referidos (aqui e aqui) publicados pelo Getty Conservation Institute integralmente disponíveis online:

Valerie Dorge, F. Carey Howlett (ed.), Painted Wood: History and Conservation, The Getty Conservation Institute, Los Angeles, 1998.

Índice:

Understanding and Identifying Materials

  • R. Bruce Hoadley, Wood as a Physical Surface for Paint Application
  • David Erhardt, Paints Based on Drying-Oil Media
  • Richard Newman, Tempera and Other Nondrying-Oil Media
  • James S. Martin, Microscopic Examination and Analysis of the Structure and Composition of Paint and Varnish Layers

Historical Perspectives

  • Myriam Serck-Dewaide, Support and Polychromy of Altarpieces from Brussels, Mechlin, and Antwerp. Study, Comparison, and Restoration
  • Nancie C. Ravenel, Painted Italian Picture Frames in the Samuel H. Kress Foundation Collection at the National Gallery of Art
  • Ian C. Bristow, The Imitation of Natural Materials in Architectural Interiors
  • James Yorke, Royal Painted Furniture in King Charles I’s England
  • Elizabeth White, Perished Perches: The Evidence for English Painted Wooden Furniture in Eighteenth-Century Gardens
  • Susan L. Buck, Shaker Painted Furniture Provocative Insights into Shaker Paints and Painting Techniques

Historical Materials and Techniques

  • Hans Portsteffen, Form and Polychromy: Two Different Concepts in One Object. Notes on Seventeenth-Century Sculpture Workshop Practices in Bavaria
  • Renate Gold, Reconstruction and Analysis of Bismuth Painting
  • Margaret J. Ballardie, Japanning in Seventeenth- and Eighteenth-Century Europe. A Brief Discussion of Some Materials and Methods
  • Laurence Libin, Painted Harpsichords
  • Frances Gruber Safford, Floral Painting on Early Eighteenth-Century American Furniture at The Metropolitan Museum of Art
  • Luiz A. C. Souza, Cristina Avila, Chinese Motifs in the Baroque Art of Minas Gerais, Brazil. Historical and Technical Aspects<I></I>
  • Chris A. Shelton, A Short Primer on the White-Painted Furnishings of Eighteenth-Century Philadelphia
  • Jonathan Thornton, The Use of Dyes and Colored Varnishes in Wood Polychromy
  • Robert D. Mussey Jr, Verte Antique Decoration on American Furniture. History, Materials, Techniques, Technical Investigations
  • Nancy N. Odegaard, An Investigation of the Nature of Paint on Wood Objects in the Indigenous Southwest of North America
  • Mark A. Harpainter, Christopher C. Augerson, The Painted Furniture and Wooden Decorative Arts of Lucia and Arthur Mathews

Investigations and Treatment

  • Michele D. Marincola, Jack Soultanian, Monochromy, Polychromy, and Authenticity. The Cloisters’ Standing Bishop Attributed to Tilman Riemenschneider
  • Anna C. Hulbert, Conservation of the Fourteenth-Century Ceiling at Saint Helen’s Church, Abingdon
  • Claude Payer, Marie-Claude Corbeil, Colombe Harvey, Elizabeth Moffatt, The Interior Decor of the Ursuline Chapel in Quebec City. Research and Conservation
  • Elizabeth Howard Schmidt, The Painted Tester Bedstead at Agecroft Hall
  • Marianne Webb, Four Japanned Cabinets: A Variety of Techniques
  • Andrea M. Gilmore, The Hunnewell Cottage. Preservation and Re-creation of a Nineteenth-Century Exterior Paint Scheme
  • Marc A. Williams, Merri M. Ferrell, Jennifer Baker, Technology and Conservation of Decorative Surface Systems of Horse-Drawn Vehicles
  • Merri M. Ferrell, The Importance of Conservation to Research: A Case Study
  • Stephen L. Ray, Julie A. Reilly, The Treatment of Painted Wooden Folk Art
  • Rick H. Parker, Peter L. Sixbey, Jeffrey: Horse of a Different Color

Ethical Considerations

  • Andrew Todd, Painted Memory, Painted Totems
  • Wendy Hartman Samet, The Philosophy of Aesthetic Reintegration: Paintings and Painted Furniture
  • Valerie Reich Hunt, Conservation of Folk Art: Shelburne Museum’s Collection and Approach
  • Lynne Dakin Hastings, Deborah Bigelow, Collaborations Past and Present: A Classical Success Story
  • Deborah S. Gordon, Applied Aesthetics: Restoring the Original Cornice Decoration at Olana

Scientific Research

  • Marion F. Mecklenberg, Charles S. Tumosa, David Erhardt, Structural Response of Painted Wood Surfaces to Changes in Ambient Relative Humidity
  • Eric F. Hansen, Mitchell Hearns Bishop, Factors Affecting the Re-Treatment of Previously Consolidated Matte Painted Wooden Objects
  • Stefan Michalski, Carole Dignard, Lori van Handel, David Arnold, The Ultrasonic Mister Applications in the Consolidation of Powdery Paint on Wooden Artifacts
  • Richard C. Wolbers, Mary McGinn, Deborah Duerbeck, Poly(2-Ethyl-2-Oxazoline): A New Conservation Consolidant

Este volume de actas está disponível aqui.

quinta-feira, 1 de fevereiro de 2007

Analytical Chemistry in Archaeology

Acabou de ser publicado:

A. M. Pollard, C. M. Batt, B. Stern, S. M. M. Young, Analytical Chemistry in Archaeology, Cambridge, Cambridge University Press, 2007.

Índice:

The role of analytical chemistry in archaeology

  • Archaeology and analytical chemistry 3
  • An introduction to analytical chemistry 31

The application of analytical chemistry to archaeology

  • Elemental analysis by absorption and emission spectroscopies in the visible and ultraviolet 47
  • Molecular analysis by absorption and Raman spectroscopy 70
  • X-ray techniques and electron beam microanalysis 93
  • Neutron activation analysis 123
  • Chromatography 137
  • Mass spectrometry 160
  • Inductively coupled plasma–mass spectrometry (ICP-MS) 195

Some basic chemistry for archaeologists

  • Atoms, isotopes, electron orbitals, and the periodic table 217
  • Valency, bonding, and molecules 249
  • The electromagnetic spectrum 275
  • Practical issues in analytical chemistry 294

Os trabalhos do pintor: 22

Niklaus Manuel Deutsch, 1515.

The Conservation of Wall Paintings

O Getty Conservation Institute, além de livros da série Research in Conservation, já referidos, tem online, com acesso livre, outros volumes, nomeadamente volumes de actas de alguns encontros que promoveu. Pelo seu interesse, destaca-se o seguinte:

Sharon Cather (ed.), The Conservation of Wall Paintings. Proceedings of a Symposium Organized by the Courtauld Institute of Art and The Getty Conservation Institute, The Getty Conservation Institute, Los Angeles, 1991.

Índice:

  • Frank Preusser, Scientific and Technical Examination of the Tomb of Queen Nefertari at Thebes
  • Ornella Casazza, Sabino Giovannoni, Preliminary Research for the Conservation of the Brancacci Chapel, Florence
  • Karl Ludwig Dasser, Pretreatment Examination and Documentation: The Wall Paintings of Schloß Seehof, Bamberg
  • Claus Arendt, The Role of the Architectural Fabric in the Preservation of Wall Paintings
  • Ivo Hammer, The Conservation in Situ of the Romanesque Wall Paintings of Lambach
  • Fabrizio Mancinelli, The Frescoes of Michelangelo on the Vault of the Sistine Chapel: Conservation Methodology, Problems, and Results
  • Gianluigi Colalucci, The Frescoes of Michelangelo on the Vault of the Sistine Chapel: Original Technique and Conservation
  • S. B. Hanna, J. K. Dinsmore, Conservation of Central Asian Wall Painting Fragments from the Stein Collection in the British Museum
  • Eric M. Moormann, Destruction and Restoration of Campanian Mural Paintings in the Eighteenth and Nineteenth Centuries
  • Andreas Arnold, Konrad Zehnder, Monitoring Wall Paintings Affected by Soluble Salts
  • Mauro Matteini, In Review: An Assessment of Florentine Methods of Wall Painting Conservation Based on the Use of Mineral Treatments

O volume está disponível aqui.