Percorrer por autor "Miguel, Catarina"
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- Caracterização material da escultura de Nossa Senhora de FátimaPublication . Cruz, António João; Coroado, João; Gac, Agnès Le; Miguel, Catarina; Carvalho, Maria Luísa
- Italian Influence in a Portuguese Mannerist Painting (Part I): A New Palette with Original Orange and Green PigmentsPublication . Melo, Helena Pinheiro de; Valadas, Sara; Cruz, António João; Cardoso, Ana Margarida; Miguel, Catarina; Manhita, Ana; Helvaci, Yigit Zafer; Dias, Cristina Barrocas; Candeias, AntónioThe palette used by the Portuguese painter Pedro Nunes (1586–1637) in the large panel depicting The Descent from the Cross (460 × 304 cm) painted in 1620 for Évora’s cathedral was investigated with a combination of the visual inspection of the paint surface and the analysis of the paint layers with microscopic, spectroscopic, and chromatographic techniques. Green earth and an orange artificial arsenic sulphide, two pigments identified for the first time in Portuguese paintings of the sixteenth and seventeenth centuries, were found to be abundantly used in large areas of the composition. The results further reveal the choice of a rich palette also containing lead-white, lead-tin yellow, ochre, vermilion, verdigris, smalt, azurite, vegetable carbon black, and a red lake made of brazilwood and cochineal. All the pigments were bound in an oil-based medium. The introduction of two pigments new to the Portuguese conventional palette is a direct consequence of the painter’s training in Rome in the first decade of the seventeenth century.
- The Matter from Which an Orange Colour Is Made: On the Arsenic Pigment Used in a Portuguese Mannerist PaintingPublication . Cruz, António João; Melo, Helena P.; Valadas, Sara; Miguel, Catarina; Candeias, AntónioThe painting The Descent from the Cross, painted in 1620 by Pedro Nunes (1586–1637), presents two large figures with orange-coloured fabrics with conservation problems. Through the analysis of two samples with several analytical techniques, especially scanning electron microscopy combined with X-ray spectroscopy and Raman microscopy, it was possible to conclude that the orange colour is due to a complex artificial pigment made of amorphous arsenic sulphide. It essentially consists of spherical particles obtained by sublimation and condensation, possibly from orpiment, which ended up being joined with irregularly shaped particles resulting from crushing of the residual fraction obtained by solidification and fusion. This is a rare documented case of the extensive use of artificial arsenic sulphides in European easel painting, especially outside Italy. The conservation problems can be explained by the great sensitivity of the arsenic sulphides to photodegradation and the formation of powdery compounds.