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New insight on the underdrawing of 16th Flemish-Portuguese easel paintings by combined surface analysis and microanalytical techniques

机译:结合表面分析和微观分析技术,对第16部佛兰德-葡萄牙画架上的底涂画有新见解

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摘要

This paper focusses on the study of the underdrawings of 16th century easel paintings attributed to the workshop of the Portuguese-Flemish Master Frei Carlos. This investigation encompasses multidisciplinary research that relates the results of surface exams (infrared reflectography, standard light photography and infrared photography) with analytical investigations.The surface analysis of Frei Carlos’ underdrawings by infrared reflectography has shown heterogeneous work, revealing two different situations: (1) an abundant and expressive underdrawing, revealing a Flemish influence and (2) a simple and outlined underdrawing. This preliminary research raised an important question related to this Portuguese-Flemish workshop and to the analytical approach: Is the underdrawing's heterogeneity, as observed in the reflectograms, related to different artists or is this rather an effect that is produced due to the use of different materials in the underdrawing's execution? Consequently, if different materials were used, how can we have access to the hidden underdrawings? In order to understand the reasons for this dissemblance, chemical analysis of micro-samples collected in underdrawing areas and representing both situations were carried out by optical microscopy, micro Fourier transform infrared spectroscopy (μ-FTIR), scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM-EDX) and micro-Raman spectroscopy (μ-Raman). Taking into account the different possibilities and practical and theoretical limitations of surface and punctual examinations in the study of easel painting underdrawings, the methodology of research was adjusted, sometimes resulting in a re-analysis of experimental results. This research shows the importance of combining multispectral surface exams and chemical analysis in the understanding of the artistic creative processes of 16th century easel paintings.
机译:本文重点研究了归功于葡萄牙佛兰芒大师弗雷·卡洛斯(Frei Carlos)的16世纪画架绘画的底画。这项研究涵盖了多学科研究,将表面检查(红外反射成像,标准光照相和红外照相)的结果与分析研究相关联。红外反射成像对弗雷·卡洛斯(Frei Carlos)的下凹图的表面分析显示出异质工作,揭示了两种不同情况:(1 )丰富而富于表现力的缩图,显示出佛兰芒语的影响力;以及(2)简单概括的缩图。这项初步研究提出了一个与此葡萄牙-佛拉芒研讨会和分析方法有关的重要问题:在反射图中观察到的底图的异质性是否与不同的艺术家有关,或者这是由于使用不同而产生的效果吗?提款单中的材料?因此,如果使用不同的材料,我们如何获得隐藏的底图?为了理解造成这种差异的原因,分别对光学显微镜,显微傅里叶变换红外光谱(μ-FTIR),扫描电子显微镜和能量色散X进行了分析,对在绘图不足区域收集并代表两种情况的微量样品进行了化学分析。射线光谱法(SEM-EDX)和微拉曼光谱法(μ-Raman)。考虑到在画架底涂画的研究中表面和按时检查的不同可能性以及实践和理论上的局限性,对研究方法进行了调整,有时导致对实验结果进行重新分析。这项研究表明,将多光谱表面检查和化学分析相结合对于理解16世纪画架画的艺术创作过程非常重要。

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