DSpace Collection:
http://hdl.handle.net/10174/29431
2024-03-17T11:35:42ZAn Artist’s Sketchbook: the former altarpiece of Goa Cathedral (India) attributed to the painter Garcia Fernandes – iconographic and stylistic inf luences and underdrawing study
http://hdl.handle.net/10174/32025
Title: An Artist’s Sketchbook: the former altarpiece of Goa Cathedral (India) attributed to the painter Garcia Fernandes – iconographic and stylistic inf luences and underdrawing study
Authors: Antunes, Vanessa; Serrão, Vítor; Candeias, António; Mirão, José; Valadas, Sara; Carvalho, Maria Luísa
Abstract: Goa Cathedral former altarpiece, attributed to Garcia Fernandes and made around 1538, is one of the oldest western pictorial works in India. It is a work of great importance in the establishment of the conquest of Goa by the Portuguese but also for understanding the inf luence of Portuguese painting overseas. Goa Cathedral former altarpiece is revealed as a crucial study source of Garcia Fernandes' creative process. There is evidence in the vigorous underdrawing of these paintings, of the existence of different types of drawing, as well as abandoned iconographic themes, or formal alterations of compositions. The iconographic and stylistic study evidences north and south-European inf luences in the choice and representation of the themes around the Martírio de Santa Catarina. In the present study, this work is compared in the making of the underdrawing with other works attributed to Garcia Fernandes.2020-01-01T00:00:00ZThe use of glass particles and its consequences in late 16th century oil painting: A Portuguese case based on the analytical results and the technical treatises
http://hdl.handle.net/10174/32024
Title: The use of glass particles and its consequences in late 16th century oil painting: A Portuguese case based on the analytical results and the technical treatises
Authors: Melo, Helena Pinheiro; Cruz, António João; Valadas, Sara; Cardoso, Ana Margarida; Candeias, António
Abstract: Colourless glass particles were identified for the first time in Portuguese paintings in two altarpieces
attributed to the painter Francisco João, active between 1558 and 1595. They were found in red glazes with
conservation problems. The glass was analysed by SEM-EDX and the binder by -FTIR. Portuguese 17th
century painting treatises, which record earlier practices, were examined providing additional informa-
tion. The glass particles had a vegetable silica-soda-lime composition, different in the two altarpieces, and
a medium to very high alumina content. Although the provenance of the glass could not be determined,
the use of local glass is suggested, as archaeological glass of the same period and similar composition
has been found in southern Europe, notably Portugal. Furthermore, the glass from one of the altarpieces
closely matches the composition of glass found in a painting by the Spaniard Luis de Morales. As a result,
it is possible that the painter deliberately added a local glass to his red lakes, as advised in the two Por-
tuguese painting treatises of this period. The exclusive presence of glass in the uppermost medium-rich
glazes suggests that it was mainly used for its transparency and assumed siccative role. Although the
siccative properties of glass have not been proved, by lowering the oil concentration in the paint, the
addition of glass might have indirectly assisted the drying of the glazes. The glass particles were subject
to a severe leaching of the alkali, a degradation that might explain the disruption of the glaze layers in
these paintings.2020-01-01T00:00:00Z