http://hdl.handle.net/10174/29431 2026-04-05T17:56:08Z 2026-04-05T17:56:08Z Reis, Teresa Valadas, Sara Machado, Ana Piorro, Luís Carriço, Nuno Cardoso, Ana Caldeira, Ana Teresa Pereira, Fernando António Baptista Candeias, António http://hdl.handle.net/10174/36873 2024-05-27T13:51:28Z 2024-04-30T23:00:00Z

Title: Em busca do retrato original de Afonso de Albuquerque – novas revelações na Galeria dos Vice- Reis de Goa Authors: Reis, Teresa; Valadas, Sara; Machado, Ana; Piorro, Luís; Carriço, Nuno; Cardoso, Ana; Caldeira, Ana Teresa; Pereira, Fernando António Baptista; Candeias, António Editors: Claro, Ana Abstract: Este artigo incide na investigação multidisciplinar que permitiu a descoberta do retrato de Afonso de Albuquerque pertencente à Galeria dos Vice-Reis e Governadores do Estado da Índia. Na sequência de uma primeira investigação que confirmou que o famoso retrato exposto no Museu Nacional de Arte Antiga é, afinal, o resultado de sucessivas intervenções sobre uma outra personagem, surgiu a questão acerca da eventual existência do retrato original junto da restante coleção, em Goa. No contexto do projeto Old Goa Revelations, onde uma equipa de investigadores portugueses e indianos realizou, pela primeira vez, um estudo científico conjunto em retratos desta coleção, foi possível recolher novos dados nesse sentido. Com efeito, associando os resultados de exames multianalíticos e multiespectrais com fontes históricas e iconográficas, foi finalmente revelada a localização do retrato perdido, descobrindo-se que este painel fora, por sua vez, também reaproveitado para a representação tardia de um outro Governador.

2024-04-30T23:00:00Z Antunes, Vanessa Serrão, Vítor Candeias, António Mirão, José Valadas, Sara Carvalho, Maria Luísa http://hdl.handle.net/10174/32025 2022-05-06T15:05:19Z 2020-01-01T00:00:00Z

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.

2020-01-01T00:00:00Z Melo, Helena Pinheiro Cruz, António João Valadas, Sara Cardoso, Ana Margarida Candeias, António http://hdl.handle.net/10174/32024 2022-05-06T15:02:45Z 2020-01-01T00:00:00Z

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