On the origin of Goa Cathedral former altarpiece: Material and technical assessment to the work of Garcia Fernandes, Portuguese painter from 16th century Lisbon workshop

Detalhes bibliográficos
Autor(a) principal: Antunes, Vanessa
Data de Publicação: 2018
Outros Autores: Candeias, António, Mirão, José, Carvalho, Maria Luísa, Serrão, Vitor, Barrocas Dias, Cristina, Manhita, Ana, Cardoso, Ana, Manso, Marta
Tipo de documento: Artigo
Idioma: eng
Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
Texto Completo: http://hdl.handle.net/10174/25198
https://doi.org/10.1016/j.microc.2018.01.018
Resumo: Goa Cathedral former altarpiece is one of the oldest set of paintings in India. The seven remaining paintings from the first altarpiece of Goa Cathedral, nowadays in the sacristy, are attributed by some art historians to Master Garcia Fernandes (act. 1514–1565), Portuguese painter from Lisbon workshop. The 16th century was the “Golden age” of Portuguese painting. In this context the Royal Lisbon workshop played a predominant role, where the activity of the painter Garcia Fernandes and his workshop can be distinguished. In this new approach, Goa paintings are being studied and compared with other works in Portuguese territory attributed to this same painter, as St. Bartholomew altarpiece from the chapel of Bartolomeu Joanes in Lisbon Cathedral. The stratigraphic study allowed to compare ground layers, pigments and binders which, were characterized using complementary analytical and imaging techniques: (X-ray Fluorescence spectrometry (XRF), Infrared Reflectography (IRR), Infrared Photography (IRP), Macro Photography (MP), micro-X-ray Diffraction (μ-XRD), Scanning Electron Microscopy with Energy Dispersive Spectroscopy (SEM-EDS), Raman micro-spectroscopy (μ-Raman), Fourier Transform Infrared micro-spectroscopy (μ-FTIR), Pyrolysis gas chromatography mass spectrometry (PY-GC/MS). This work brought a new insight on the techniques and materials used in this Masterpiece and highlighted the conclusion that Goa Cathedral former altarpiece must be a Portuguese production.
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spelling On the origin of Goa Cathedral former altarpiece: Material and technical assessment to the work of Garcia Fernandes, Portuguese painter from 16th century Lisbon workshopGoa Cathedral former altarpiece is one of the oldest set of paintings in India. The seven remaining paintings from the first altarpiece of Goa Cathedral, nowadays in the sacristy, are attributed by some art historians to Master Garcia Fernandes (act. 1514–1565), Portuguese painter from Lisbon workshop. The 16th century was the “Golden age” of Portuguese painting. In this context the Royal Lisbon workshop played a predominant role, where the activity of the painter Garcia Fernandes and his workshop can be distinguished. In this new approach, Goa paintings are being studied and compared with other works in Portuguese territory attributed to this same painter, as St. Bartholomew altarpiece from the chapel of Bartolomeu Joanes in Lisbon Cathedral. The stratigraphic study allowed to compare ground layers, pigments and binders which, were characterized using complementary analytical and imaging techniques: (X-ray Fluorescence spectrometry (XRF), Infrared Reflectography (IRR), Infrared Photography (IRP), Macro Photography (MP), micro-X-ray Diffraction (μ-XRD), Scanning Electron Microscopy with Energy Dispersive Spectroscopy (SEM-EDS), Raman micro-spectroscopy (μ-Raman), Fourier Transform Infrared micro-spectroscopy (μ-FTIR), Pyrolysis gas chromatography mass spectrometry (PY-GC/MS). This work brought a new insight on the techniques and materials used in this Masterpiece and highlighted the conclusion that Goa Cathedral former altarpiece must be a Portuguese production.Elsevier2019-02-27T21:33:45Z2019-02-272018-01-01T00:00:00Zinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articlehttp://hdl.handle.net/10174/25198http://hdl.handle.net/10174/25198https://doi.org/10.1016/j.microc.2018.01.018engndcandeias@uevora.ptjmirao@uevora.ptndndcmbd@uevora.ptanaccm@uevora.ptamcardoso@uevora.ptndAntunes, VanessaCandeias, AntónioMirão, JoséCarvalho, Maria LuísaSerrão, VitorBarrocas Dias, CristinaManhita, AnaCardoso, AnaManso, Martainfo:eu-repo/semantics/openAccessreponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAP2024-01-03T19:18:54Zoai:dspace.uevora.pt:10174/25198Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-20T01:15:42.301777Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse
dc.title.none.fl_str_mv On the origin of Goa Cathedral former altarpiece: Material and technical assessment to the work of Garcia Fernandes, Portuguese painter from 16th century Lisbon workshop
title On the origin of Goa Cathedral former altarpiece: Material and technical assessment to the work of Garcia Fernandes, Portuguese painter from 16th century Lisbon workshop
spellingShingle On the origin of Goa Cathedral former altarpiece: Material and technical assessment to the work of Garcia Fernandes, Portuguese painter from 16th century Lisbon workshop
Antunes, Vanessa
title_short On the origin of Goa Cathedral former altarpiece: Material and technical assessment to the work of Garcia Fernandes, Portuguese painter from 16th century Lisbon workshop
title_full On the origin of Goa Cathedral former altarpiece: Material and technical assessment to the work of Garcia Fernandes, Portuguese painter from 16th century Lisbon workshop
title_fullStr On the origin of Goa Cathedral former altarpiece: Material and technical assessment to the work of Garcia Fernandes, Portuguese painter from 16th century Lisbon workshop
title_full_unstemmed On the origin of Goa Cathedral former altarpiece: Material and technical assessment to the work of Garcia Fernandes, Portuguese painter from 16th century Lisbon workshop
title_sort On the origin of Goa Cathedral former altarpiece: Material and technical assessment to the work of Garcia Fernandes, Portuguese painter from 16th century Lisbon workshop
author Antunes, Vanessa
author_facet Antunes, Vanessa
Candeias, António
Mirão, José
Carvalho, Maria Luísa
Serrão, Vitor
Barrocas Dias, Cristina
Manhita, Ana
Cardoso, Ana
Manso, Marta
author_role author
author2 Candeias, António
Mirão, José
Carvalho, Maria Luísa
Serrão, Vitor
Barrocas Dias, Cristina
Manhita, Ana
Cardoso, Ana
Manso, Marta
author2_role author
author
author
author
author
author
author
author
dc.contributor.author.fl_str_mv Antunes, Vanessa
Candeias, António
Mirão, José
Carvalho, Maria Luísa
Serrão, Vitor
Barrocas Dias, Cristina
Manhita, Ana
Cardoso, Ana
Manso, Marta
description Goa Cathedral former altarpiece is one of the oldest set of paintings in India. The seven remaining paintings from the first altarpiece of Goa Cathedral, nowadays in the sacristy, are attributed by some art historians to Master Garcia Fernandes (act. 1514–1565), Portuguese painter from Lisbon workshop. The 16th century was the “Golden age” of Portuguese painting. In this context the Royal Lisbon workshop played a predominant role, where the activity of the painter Garcia Fernandes and his workshop can be distinguished. In this new approach, Goa paintings are being studied and compared with other works in Portuguese territory attributed to this same painter, as St. Bartholomew altarpiece from the chapel of Bartolomeu Joanes in Lisbon Cathedral. The stratigraphic study allowed to compare ground layers, pigments and binders which, were characterized using complementary analytical and imaging techniques: (X-ray Fluorescence spectrometry (XRF), Infrared Reflectography (IRR), Infrared Photography (IRP), Macro Photography (MP), micro-X-ray Diffraction (μ-XRD), Scanning Electron Microscopy with Energy Dispersive Spectroscopy (SEM-EDS), Raman micro-spectroscopy (μ-Raman), Fourier Transform Infrared micro-spectroscopy (μ-FTIR), Pyrolysis gas chromatography mass spectrometry (PY-GC/MS). This work brought a new insight on the techniques and materials used in this Masterpiece and highlighted the conclusion that Goa Cathedral former altarpiece must be a Portuguese production.
publishDate 2018
dc.date.none.fl_str_mv 2018-01-01T00:00:00Z
2019-02-27T21:33:45Z
2019-02-27
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status_str publishedVersion
dc.identifier.uri.fl_str_mv http://hdl.handle.net/10174/25198
http://hdl.handle.net/10174/25198
https://doi.org/10.1016/j.microc.2018.01.018
url http://hdl.handle.net/10174/25198
https://doi.org/10.1016/j.microc.2018.01.018
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dc.publisher.none.fl_str_mv Elsevier
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