Abstract In 1949, Almada Negreiros painted at the maritime station of Rocha do Conde de Óbidos, in Lisbon, six monumental mural paintings, which are considered as his highest artistic achievement. On these he resorted to a bright colourful palette, needs be studied support conservation and preservation artworks for future generations. Among pigments under study within project ALMADA, identification green samples is most challenging, seems have explored different hues by using simultaneously...

ABSTRACT Three paintings of Symeon Savvidis, one Francesco Pige and from Andreas Kriezis belonging to the permanent collection National Gallery‐Alexandros Soutsos Museum located in Athens, Greece, were analysed situ, during museum's opening hours, by Raman spectroscopy, handheld x‐ray fluorescence (hXRF) hyperspectral imaging (UV‐Vis‐NIR HSI). spectroscopy point analysis, performed on multiple points surface paintings, revealed materials used artists. Additionally, micro‐Raman maps obtained...

This study offers fresh insights into the technical and stylistic exchanges between Flemish Portuguese panel painting during late 15th early 16th centuries. By comparing two contemporaneous works, we trace influence in Portugal through a detailed materials techniques analysis. Non-invasive, situ methods—including energy dispersive X-ray fluorescence (XRF), macro-photography (MP), infrared reflectography (IRR), dendrochronology—were used to examine each painting’s wooden support, ground...

This paper provides a contribution to FTIR analysis of calcium sulphate‐based grounds paintings when mixture compounds with different degrees hydration is present. The study based on the that technique, electron microscopy coupled energy‐dispersive X ‐ray spectrometry and diffraction both 16th‐century P ortuguese reference samples prepared anhydrite sulphate dihydrate bound in an animal glue solution. It shown interpretation degree ground using cannot be solely hydroxyl bands, as usual...

This paper reports an unusual green pigment, brochantite (Cu4(SO4)(OH)6), on 16th-century Portuguese-Flemish paintings, attributed to the Master Frei Carlos workshop. mineral is usually identified as impurity or alteration product in pigments verdigris (Cu(CH3COO)2 nCu(OH)2) malachite (CuCO3 Cu(OH)2). However, after thorough investigation with a broad range of analytical techniques, it became clear that, this case, was applied pigment. The abundance, pigment granulometry, and morphology...

Abstract Two pairs of hand‐painted Japanese folding screens were analyzed by Raman, energy dispersive X‐ray fluorescence (EDXRF) and Fourier transform infrared (FTIR) spectroscopy, in order to characterize the materials used their production. screens, called byobu, are one oldest most highly refined forms art, where paper silk as for artists paint on. The two studied this work also exhibit a golden background create luminous effect. These depict some Portuguese who arrived Japan during 16th...

Samples of blue wall paint layers from selected 15th to 18th century religious mural paintings southern Portugal (Alentejo) have been analyzed using a multi-analytical methodology involving the combination in situ visible spectro-colorimetry with microanalytical techniques such as optical and scanning electron microscopy Raman spectroscopy. In analyses micro-sampling were carried out nine different churches, many an advanced state deterioration. The objectives this study were: (a) identify...

This paper reports the first analytical approach carried out on two working palettes by Portuguese modernist master Almada Negreiros, found in 1991 behind old wood cabinets at DN building Lisbon. is only known occasion left color experiments done before starting to paint nearby walls and as such, it a unique opportunity analyze materials painting techniques that were originally used. The setup comprised loco technical photography Vis, UVF NIR; p-OM, spectrophotometry Vis h-EDXRF,...

In this work, we present the results of an analytical method developed for detailed pigment identification, stratigraphy, and degradation paint layers mural paintings applied in study 17th century frescoes from Misericordia Church Odemira (Southwest Portugal). situ X-ray fluorescence spectrometry analyses were performed on three panels complemented by colorimetric measurements. The different color areas also sampled as microfragments (approx. 1 mm2) that studied taken or mounted epoxy resin...

This paper reports the preliminary diagnostic survey of six controversial mural paintings painted in 1946–49 at Maritime Station Rocha do Conde de Óbidos Lisbon, considered artistic epitome Almada Negreiros painting art. Four research questions drove this research: a) What are main decay phenomena present and their sources? b) Which paint layers most affected, they linked to a particular pigment? c) Is there any relation between technique used deterioration or stability pigments? And...

This article describes a study carried out on the emblematic mural painting so‐called ‘fresco of good and bad judge’ located at medieval village Monsaraz (southern Portugal). painting, with two distintic narratives, is thematically unique in Portugal rare context European Renaissance art. Scientific research was undertaken to clarify doubts about chronology painted scenes through technical material characterization its constituents, namely, mortars, pigments, binders. Elemental chemical...

In recent decades, many works have been devoted to the study of materials and painting techniques used produce illuminated manuscripts. If analyses were once largely invasive, approach has become increasingly more in situ non-invasive over years. This work presents results analysis Portuguese Charter Évora, an manuscript that dates back 1501, combining elemental mapping technique (MA-XRF) with imaging infrared reflectography digital microscopy. Remarkably, this allowed us obtain unexpected...

Entre 2004 e 2006 foi efectuada uma campanha experimental no Alentejo para identificar os pigmentos empregues nas caiações tradicionais apurar dados sobre as técnicas na preparação das tintas de cal sua aplicação parede. As amostras foram recolhidas nos alçados exteriores edifícios localizados centros históricos 47 concelhos (distribuídos pelos distritos Évora, Beja, Portalegre Setúbal), tendo a análise sido feita através testes microquímicos, complementados com microscopia óptica,...

Abstract Four panel paintings depicting episodes related to the birth of Christ and attributed Portuguese mannerist painter Francisco João (doc. 1558–1585) were found exhibit a muted palette that had no correspondence with traditionally vivid colors used in sixteenth century represent joyful biblical events. Complementing previous research on disruption loss red glazes these paintings, investigation focused analysis materials, painting technique degradation issues further affected original...

The painting Descent from the Cross, painted in 1620 by Pedro Nunes (1586–1637), presents two large figures with orange-coloured fabrics conservation problems. Through analysis of samples several analytical techniques, especially scanning electron microscopy combined X-ray spectroscopy and Raman microscopy, it was possible to conclude that orange colour is due a complex artificial pigment made amorphous arsenic sulphide. It essentially consists spherical particles obtained sublimation...

Abstract The National Museum of Ancient Art in Lisbon (MNAA) hosts the most important Portuguese public collection art. Among its different types artworks, a set six Chinese wallpaper panels from eighteenth century is present; they represent production porcelain and have been donated to 1949. Despite large interest that has raised around these kinds artefacts, few technical studies carried out date on wallpapers. In this study, non-invasive investigation MNAA by means portable devices...