Um estudo sobre a utilização de sete papéis distintos no "facing" de pintura a óleo sobre tela

Translated title of the contribution: A study on the use of seven different papers on the facing of oil easel painting

Patrícia Varela*, Matteo Rosi Doria, Ana Bailão

*Corresponding author for this work

Research output: Contribution to journalArticlepeer-review

Abstract

Is japanese paper the most suitable material for facing on easel paintings? Would it be beneficial to use specific papers appropriate to each case? This study sought to answer these questions and determine, from the tested papers, which is the most suitable for the facing on oil easel paintings. For this purpose, models were made, in three different colors. In each color, two textures were made, textures and not textured. Three areas were also defined, in each color and texture: two do apply two different varnishes and one to remain without varnish. The models were made so that all combinations of materials previously described were obtained and each paper was tested in each of these combinations. After the tests were carried out and the results were analyzed, it was concluded that, of the tested materials, Japanese paper was not always the most effective, having been surpassed by Wet-strength Tissue, a cellulosic paper, for demonstrating ease of application, due to the paper strength and fiber loss.
Translated title of the contributionA study on the use of seven different papers on the facing of oil easel painting
Original languagePortuguese
Pages (from-to)146-161
Number of pages16
JournalGe-Conservacion
Volume20
DOIs
Publication statusPublished - 29 Oct 2021
Externally publishedYes

Keywords

  • Facing
  • Modelspan
  • Oil painting
  • Wet-strength tissue

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