Chromatic reintegration in contemporary monochromatic unvarnished paintings: a case study based on artwork from Jorge Martins

Marta Aleixo; Ana Bailão; Andreia E. Gomes; João Linhares; Margarita San Andrés; Sérgio Nascimento

doi:10.37558/gec.v18i1.817

Chromatic reintegration in contemporary monochromatic unvarnished paintings: a case study based on artwork from Jorge Martins

Título traduzido da contribuição: Reintegração cromática em pinturas contemporâneas monocromáticas sem verniz: um estudo de caso a partir da obra de Jorge Martins

Marta Aleixo^*
, Ana Bailão
, Andreia E. Gomes
, João Linhares
, Margarita San Andrés
, Sérgio Nascimento

^*Autor correspondente para este trabalho

Resultado de pesquisa › revisão de pares

3 Citações (Scopus)

62 Transferências (Pure)

Resumo

A escolha dos materiais de reintegração cromática para pinturas contemporâneas a óleo e emulsão acrílica não envernizadas, constituem um problema antes do tratamento de conservação e restauro. Este tipo de pinturas contém abrasões, impressões digitais e manchas de sujidade, que aparecem em particular nas laterais, maioritariamente causadas pelo manuseamento. Por serem pinturas não envernizadas o processo de reintegração cromática torna-se complexo, uma vez que não existe qualquer camada de proteção na pintura. O objetivo deste trabalho foi avaliar os materiais que tiveram um desempenho superior durante as reintegrações cromáticas das pinturas do pintor português Jorge Martins. Construíram-se com o artista, maquetas representativas da sua técnica pictórica recorrendo aos seus materiais. As mesmas maquetas foram artificialmente envelhecidas. Para uma avaliação do mais indicado, diferentes tipos de materiais aquosos e não aquosos, foram testados. Verificou-se que os melhores resultados, foram obtidos com os pigmentos da marca Ferrario® disperso em Tri-Funori® e com os guaches da marca Winsor & Newton®, ambos aquosos e não tóxicos.

Título traduzido da contribuição	Reintegração cromática em pinturas contemporâneas monocromáticas sem verniz: um estudo de caso a partir da obra de Jorge Martins
Idioma original	English
Páginas (de-até)	328-338
Número de páginas	11
Revista	Ge-conservación
Volume	18
Número de emissão	1
DOIs	https://doi.org/10.37558/gec.v18i1.817
Estado da publicação	Publicado - 11 dez. 2020

Keywords

Reintegração cromática
Tri-Funori®
Guaches
Monocromáticos
Não-envernizadas
Acrílicos
Óleos

Acesso ao documento

10.37558/gec.v18i1.817Licença:

27538856Final published version, 1,85 MBLicença:

http://hdl.handle.net/10400.14/32444Licença:

Outros arquivos e links

Link to publication in Scopus

CITAR: Research Center for Science and Technology of the Arts
Vieira, E. (PI), Nobre da Silva Pais, A. M. (Outra carreira/categoria no setor público), Filipe, C. (Carreira no setor privado), Serra, S. (Professor Auxiliar), Baltazar, A. (Professor Auxiliar), Lobo, C. (Professor Auxiliar Convidado), Carmona, C. R. (Professor Auxiliar), Sá, C. (Professor Auxiliar), Sousa, G. V. E. (Professor Catedrático), Pereira, H. M. (Professor Auxiliar), Neves, J. (Professor Auxiliar Convidado), Teixeira, J. (Professor Auxiliar Convidado), Gomes, J. A. (Professor Auxiliar Convidado), Carvalho, J. V. (Professor Auxiliar Convidado), Castro, L. (Professor Auxiliar), Teixeira, L. (Professor Auxiliar), Aguiar, M. (Professor Auxiliar), Crespo, N. (Professor Auxiliar), Camarneiro, N. (Professor Auxiliar Convidado), Costa, P. R. (Professor Auxiliar Convidado), Pestana, P. D. (Professor Auxiliar Convidado), Alves, P. (Professor Auxiliar Convidado), Kunz, S. (Professor Auxiliar), Neves, S. (Professor Auxiliar Convidado), Coutinho, V. M. (Professor Auxiliar Convidado), Galán-Pérez, A. (Carreira no setor privado), Rangel, A. (Docente do ensino não superior), Natálio, C. (Investigador), Henriques, F. (Investigador), Lopes, M. I. (Carreira no setor privado), Bordalo, R. (Investigador) & Lammeren, S. (Investigador)
1/01/20 → 31/12/25
Projeto

Citação

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title = "Chromatic reintegration in contemporary monochromatic unvarnished paintings: a case study based on artwork from Jorge Martins",

abstract = "The choice of chromatic reintegration materials for contemporary monochromatic oil and acrylic emulsion unvarnished paints is usually a problem before treatment. This kind of paintings maybe subject to abrasions, especially on the edges, fingerprints and smudges, mainly caused during handling. Being unvarnished works, chromatic reintegration becomes a more complex process as no protective layer exist over the paint. The aim of this work was to assess the materials that over performed in the reintegration of paintings from the Portuguese painter Jorge Martins. Representative mock-ups made with the artist and using his materials and techniques were artificially aged. Different types of materials, aqueous and non-aqueous, were then tested to assess the best ones. It was found that the best results were obtained with Ferrario{\textregistered} pigment dispersed in the Tri-Funori{\textregistered} binding medium and with Winsor \& Newton{\textregistered} Designers Gouache, both aqueous and non-toxic.",

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author = "Marta Aleixo and Ana Bail{\~a}o and Gomes, \{Andreia E.\} and Jo{\~a}o Linhares and Andr{\'e}s, \{Margarita San\} and S{\'e}rgio Nascimento",

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AU - Aleixo, Marta

AU - Bailão, Ana

AU - Gomes, Andreia E.

AU - Linhares, João

AU - Andrés, Margarita San

AU - Nascimento, Sérgio

PY - 2020/12/11

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N2 - The choice of chromatic reintegration materials for contemporary monochromatic oil and acrylic emulsion unvarnished paints is usually a problem before treatment. This kind of paintings maybe subject to abrasions, especially on the edges, fingerprints and smudges, mainly caused during handling. Being unvarnished works, chromatic reintegration becomes a more complex process as no protective layer exist over the paint. The aim of this work was to assess the materials that over performed in the reintegration of paintings from the Portuguese painter Jorge Martins. Representative mock-ups made with the artist and using his materials and techniques were artificially aged. Different types of materials, aqueous and non-aqueous, were then tested to assess the best ones. It was found that the best results were obtained with Ferrario® pigment dispersed in the Tri-Funori® binding medium and with Winsor & Newton® Designers Gouache, both aqueous and non-toxic.

AB - The choice of chromatic reintegration materials for contemporary monochromatic oil and acrylic emulsion unvarnished paints is usually a problem before treatment. This kind of paintings maybe subject to abrasions, especially on the edges, fingerprints and smudges, mainly caused during handling. Being unvarnished works, chromatic reintegration becomes a more complex process as no protective layer exist over the paint. The aim of this work was to assess the materials that over performed in the reintegration of paintings from the Portuguese painter Jorge Martins. Representative mock-ups made with the artist and using his materials and techniques were artificially aged. Different types of materials, aqueous and non-aqueous, were then tested to assess the best ones. It was found that the best results were obtained with Ferrario® pigment dispersed in the Tri-Funori® binding medium and with Winsor & Newton® Designers Gouache, both aqueous and non-toxic.

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KW - Guaches

KW - Monocromáticos

KW - Não-envernizadas

KW - Acrílicos

KW - Óleos

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M3 - Article

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SN - 1989-8568

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JO - Ge-conservación

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ER -

Chromatic reintegration in contemporary monochromatic unvarnished paintings: a case study based on artwork from Jorge Martins

Resumo

Keywords

Acesso ao documento

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Projetos

CITAR: Research Center for Science and Technology of the Arts

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