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

Detalhes bibliográficos
Autor(a) principal: Melo, Helena Pinheiro de
Data de Publicação: 2023
Outros Autores: Valadas, Sara, Cruz, António João, Cardoso, Ana Margarida, Miguel, Catarina, Manhita, Ana, Helvaci, Yigit Zafer, Dias, Cristina Barrocas, Candeias, António
Tipo de documento: Artigo
Idioma: eng
Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
Texto Completo: http://hdl.handle.net/10400.26/48973
Resumo: The 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.
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spelling Italian Influence in a Portuguese Mannerist Painting (Part I): A New Palette with Original Orange and Green PigmentsPigmentsmanneristPortugueseItaliangreen earthartificial arsenic sulphideThe 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.RoutledgeRepositório ComumMelo, Helena Pinheiro deValadas, SaraCruz, António JoãoCardoso, Ana MargaridaMiguel, CatarinaManhita, AnaHelvaci, Yigit ZaferDias, Cristina BarrocasCandeias, António2024-01-15T18:19:34Z2023-10-032024-01-15T15:30:16Z2023-10-03T00:00:00Zinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttp://hdl.handle.net/10400.26/48973eng0039-3630cv-prod-350322910.1080/00393630.2022.2133917info: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:RCAAP2024-01-18T16:00:35Zoai:comum.rcaap.pt:10400.26/48973Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-20T01:52:00.958231Repositório 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 Italian Influence in a Portuguese Mannerist Painting (Part I): A New Palette with Original Orange and Green Pigments
title Italian Influence in a Portuguese Mannerist Painting (Part I): A New Palette with Original Orange and Green Pigments
spellingShingle Italian Influence in a Portuguese Mannerist Painting (Part I): A New Palette with Original Orange and Green Pigments
Melo, Helena Pinheiro de
Pigments
mannerist
Portuguese
Italian
green earth
artificial arsenic sulphide
title_short Italian Influence in a Portuguese Mannerist Painting (Part I): A New Palette with Original Orange and Green Pigments
title_full Italian Influence in a Portuguese Mannerist Painting (Part I): A New Palette with Original Orange and Green Pigments
title_fullStr Italian Influence in a Portuguese Mannerist Painting (Part I): A New Palette with Original Orange and Green Pigments
title_full_unstemmed Italian Influence in a Portuguese Mannerist Painting (Part I): A New Palette with Original Orange and Green Pigments
title_sort Italian Influence in a Portuguese Mannerist Painting (Part I): A New Palette with Original Orange and Green Pigments
author Melo, Helena Pinheiro de
author_facet Melo, Helena Pinheiro de
Valadas, Sara
Cruz, António João
Cardoso, Ana Margarida
Miguel, Catarina
Manhita, Ana
Helvaci, Yigit Zafer
Dias, Cristina Barrocas
Candeias, António
author_role author
author2 Valadas, Sara
Cruz, António João
Cardoso, Ana Margarida
Miguel, Catarina
Manhita, Ana
Helvaci, Yigit Zafer
Dias, Cristina Barrocas
Candeias, António
author2_role author
author
author
author
author
author
author
author
dc.contributor.none.fl_str_mv Repositório Comum
dc.contributor.author.fl_str_mv Melo, Helena Pinheiro de
Valadas, Sara
Cruz, António João
Cardoso, Ana Margarida
Miguel, Catarina
Manhita, Ana
Helvaci, Yigit Zafer
Dias, Cristina Barrocas
Candeias, António
dc.subject.por.fl_str_mv Pigments
mannerist
Portuguese
Italian
green earth
artificial arsenic sulphide
topic Pigments
mannerist
Portuguese
Italian
green earth
artificial arsenic sulphide
description The 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.
publishDate 2023
dc.date.none.fl_str_mv 2023-10-03
2023-10-03T00:00:00Z
2024-01-15T18:19:34Z
2024-01-15T15:30:16Z
dc.type.status.fl_str_mv info:eu-repo/semantics/publishedVersion
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
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dc.identifier.uri.fl_str_mv http://hdl.handle.net/10400.26/48973
url http://hdl.handle.net/10400.26/48973
dc.language.iso.fl_str_mv eng
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cv-prod-3503229
10.1080/00393630.2022.2133917
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dc.publisher.none.fl_str_mv Routledge
publisher.none.fl_str_mv Routledge
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reponame_str Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
collection Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
repository.name.fl_str_mv Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação
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