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Italian Influence in a Portuguese Mannerist Painting (Part I): A New Palette with Original Orange and Green Pigments

2023-10-03Journal article Open access
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dc.contributor.authorMelo, Helena Pinheiro de
dc.contributor.authorValadas, Sara
dc.contributor.authorCruz, António João
dc.contributor.authorCardoso, Ana Margarida
dc.contributor.authorMiguel, Catarina
dc.contributor.authorManhita, Ana
dc.contributor.authorHelvaci, Yigit Zafer
dc.contributor.authorDias, Cristina Barrocas
dc.contributor.authorCandeias, António
dc.date.accessioned2024-01-15T18:19:34Z
dc.date.available2024-01-15T18:19:34Z
dc.date.issued2023-10-03
dc.date.updated2024-01-15T15:30:16Z
dc.description.abstractThe 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.pt_PT
dc.description.versioninfo:eu-repo/semantics/publishedVersionpt_PT
dc.identifier.doi10.1080/00393630.2022.2133917pt_PT
dc.identifier.issn0039-3630
dc.identifier.issn2047-0584
dc.identifier.slugcv-prod-3503229
dc.identifier.urihttp://hdl.handle.net/10400.26/48973
dc.language.isoengpt_PT
dc.publisherRoutledgept_PT
dc.relation.publisherversionhttps://www.tandfonline.com/doi/full/10.1080/00393630.2022.2133917pt_PT
dc.subjectPigmentspt_PT
dc.subjectmanneristpt_PT
dc.subjectPortuguesept_PT
dc.subjectItalianpt_PT
dc.subjectgreen earthpt_PT
dc.subjectartificial arsenic sulphidept_PT
dc.titleItalian Influence in a Portuguese Mannerist Painting (Part I): A New Palette with Original Orange and Green Pigmentspt_PT
dc.typejournal article
dspace.entity.typePublication
oaire.citation.endPage746pt_PT
oaire.citation.issue7pt_PT
oaire.citation.startPage731pt_PT
oaire.citation.titleStudies in Conservationpt_PT
oaire.citation.volume68pt_PT
person.familyNameCruz
person.givenNameAntónio João
person.identifier.ciencia-id411C-A14B-142F
person.identifier.orcid0000-0001-6396-5027
person.identifier.ridA-3763-2008
person.identifier.scopus-author-id10039472900
rcaap.cv.cienciaid411C-A14B-142F | António João Cruz
rcaap.rightsopenAccesspt_PT
rcaap.typearticlept_PT
relation.isAuthorOfPublication64a39025-219e-48bb-98a0-46f5f8d94881
relation.isAuthorOfPublication.latestForDiscovery64a39025-219e-48bb-98a0-46f5f8d94881

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