Aproximación técnica a las tablitas del Instituto Gómez-Moreno. Pintura sobre tabla decimonónica

La tablita, o tableautin, pintura de pequeño formato y motivos costumbristas, alcanzó un éxito sin precedentes a partir de la segunda mitad del siglo XIX hasta principios del XX, codeándose en las Exposiciones Nacionales de Bellas Artes con los grandes formatos de pintura. En el presente artículo se realiza una aproximación a la técnica de ejecución de este tipo de pintura sobre tabla, y a su vinculación con la sociedad decimonónica española. La metodología de trabajo ha consistido en la documentación de doce obras del Instituto Gómez-Moreno de la Fundación Rodríguez-Acosta, Granada, y la recopilación de información a través de noticias, artículos, anuncios publicados en periódicos y revistas de la época, principalmente. Lo que ha permitido establecer características generales referidas a la técnica pictórica de ejecución de las tablas, constatar y listar una serie de comercios dedicados a la venta de productos de bellas artes y sus mercancías, además de comprender el significado que tuvieron estos cuadritos en la vida cotidiana de la sociedad decimonónica y en la vida profesional de los artistas.Heinz Fernández, K.; Pérez Marín, E. (2011). Aproximación técnica a las tablitas del Instituto Gómez-Moreno. Pintura sobre tabla decimonónica. Arché. (6):173-182. http://hdl.handle.net/10251/33295173182

Un Ecce Hommo inédito de Franscico de Ribalta (1565-1628) copiando Juan de Juanes (primeira década do século XVI-1579). Do estudo das fontes gráficas à investigação e autenticação técnico-científica

The work presented in this study is an abstract of a more extensive work. This work emerged as an imperative for classification and authentication of a previously unknown painting that has as a reference the Ecce Homo´s iconographic model of Juan de Juanes, in order to determine who was the artist that created it. With the certain that Francisco Ribalta was one of the most known copyists of Juan de Juanes´works, it´s considered that he may possibly be the autor of this work. So the stylistic evaluation and the analysis of the pictorial technique and the constituent materials allow us to recognize the compatibility of the painting with the gathered data. Also, it even allow us to compare the results with those of a painting by Ribalta.El trabajo que se presenta en este estudio es un resumen de otro más extenso que surgió como imperativo para la clasificación y expertización de una pintura inédita cuyo referente es el modelo iconográfico del Ecce Homo de Juan de Juanes. Teniendo la certeza de que Francisco Ribalta fue uno de los más conocidos copistas de obras juanescas, se plantea la posibilidad de que se trate del autor de dicha obra, de manera que la evaluación estilística y el análisis de la técnica pictórica y de los materiales constitutivos permitirá reconocer la compatibilidad de la pintura con los datos obtenidos e incluso comparar los resultados con los de otras pinturas realizadas por Ribalta.O trabalho apresentado neste estudo é um resumo de outro mais extenso que emergiu como imperativo para a classificação e autenticação de uma pintura inédita que tem como referente o modelo iconográfico do Ecce Homo de Juan de Juanes, a fim de determinar quem foi o artista que o criou. Tendo a certeza de que Francisco Ribalta foi um dos mais conhecidos copiadores de obras juanescas, é considerada a possibilidade de que poderia ser o autor desta obra. A avaliação estilística e a análise da técnica de pintura e dos materiais constituintes permitirão reconhecer a compatibilidade da pintura com os dados obtidos e mesmo compará-los com os de outras pinturas de Ribalta

Electrochemical identification of painters/workshops: The case of Valencian Renaissance-Baroque painters (ca. 1550- ca. 1670)

[EN] The voltammetry of immobilized particles (VIMP) methodology was applied to discriminate the oil painting production of a series of seven painters/workshops that worked in Valencia (Spain) between ca. 1530 and ca. 1650. When submicrosamples used for cross-section FESEM/EDX analysis were attached to graphite electrodes in contact with aqueous acetate buffer, well-defined responses were obtained. The reductive processes of lead pigments (lead white and lead-tin yellow) overlapped those associated to the lead soaps and other species resulting from the pigment-oil binder interaction in the sample. Such responses, which are theoretically modeled, were sensitive to changes in paint type and dose and thus provided a painter/workshop-characteristic voltammetric response defining a usable electrochemical fingerprint for authorship assessments. (C) 2018 Elsevier Ltd. All rights reserved.Project CTQ2017-85317-C2-1-P, supported with Ministerio de Economia, Industria y Competitividad (MINECO), Fondo Europeo de Desarrollo Regional (ERDF) and Agencia Estatal de Investigacion (AEI), is gratefully acknowledged. The authors wish also to thank Mr. Manuel Planes and Dr. Jose Luis Moya, technical supervisors of the Electron Microscopy Service of the Universitat Politecnica de Valencia.Doménech Carbó, A.; Domenech Carbo, MT.; Castelló Palacios, A.; Guerola Blay, V.; Pérez Marín, E. (2019). Electrochemical identification of painters/workshops: The case of Valencian Renaissance-Baroque painters (ca. 1550- ca. 1670). Electrochimica Acta. 297:685-695. https://doi.org/10.1016/j.electacta.2018.11.212S68569529

A Portable Dynamic Laser Speckle System for Sensing Long-Term Changes Caused by Treatments in Painting Conservation

[EN] Dynamic laser speckle (DLS) is used as a reliable sensor of activity for all types of materials. Traditional applications are based on high-rate captures (usually greater than 10 frames-per-second, fps). Even for drying processes in conservation treatments, where there is a high level of activity in the first moments after the application and slower activity after some minutes or hours, the process is based on the acquisition of images at a time rate that is the same in moments of high and low activity. In this work, we present an alternative approach to track the drying process of protective layers and other painting conservation processes that take a long time to reduce their levels of activity. We illuminate, using three different wavelength lasers, a temporary protector (cyclododecane) and a varnish, and monitor them using a low fps rate during long-term drying. The results are compared to the traditional method. This work also presents a monitoring method that uses portable equipment. The results present the feasibility of using the portable device and show the improved sensitivity of the dynamic laser speckle when sensing the long-term process for drying cyclododecane and varnish in conservation.This work was partially funded by Generalitat Valenciana project AICO/2016/058 and by the Plan Nacional de I+D, Comision Interministerial de Ciencia y Tecnologia (FEDER-CICYT) under the project HAR2013-47895-C2-1-P and project HAR2017-85557-PPérez Jiménez, AJ.; Gonzalez-Peña, RJ.; Braga, RJ.; Perles Ivars, A.; Pérez Marín, E.; García Diego, FJ. (2018). A Portable Dynamic Laser Speckle System for Sensing Long-Term Changes Caused by Treatments in Painting Conservation. Sensors. 18(1):1-13. https://doi.org/10.3390/s18010190S113181Kim, M. K. (2010). Principles and techniques of digital holographic microscopy. Journal of Photonics for Energy, 018005. doi:10.1117/6.0000006Yokota, M., Kawakami, T., Kimoto, Y., & Yamaguchi, I. (2011). Drying process in a solvent-based paint analyzed by phase-shifting digital holography and an estimation of time for tack free. Applied Optics, 50(30), 5834. doi:10.1364/ao.50.005834Yamaguchi, I., Ida, T., Yokota, M., & Kobayashi, K. (2007). Monitoring of Paint Drying Process by Phase-shifting Digital Holography. Adaptive Optics: Analysis and Methods/Computational Optical Sensing and Imaging/Information Photonics/Signal Recovery and Synthesis Topical Meetings on CD-ROM. doi:10.1364/dh.2007.dwc2Krzemień, L., Łukomski, M., Kijowska, A., & Mierzejewska, B. (2015). Combining digital speckle pattern interferometry with shearography in a new instrument to characterize surface delamination in museum artefacts. Journal of Cultural Heritage, 16(4), 544-550. doi:10.1016/j.culher.2014.10.006Trumpy, G., Conover, D., Simonot, L., Thoury, M., Picollo, M., & Delaney, J. K. (2015). Experimental study on merits of virtual cleaning of paintings with aged varnish. Optics Express, 23(26), 33836. doi:10.1364/oe.23.033836Reifsnyder, J. M. (1996). A note on a traditional technique of varnish application for paintings on panel. Studies in Conservation, 41(2), 120-122. doi:10.1179/sic.1996.41.2.120Caley, T. (1990). ASPECTS OF VARNISHES AND THE CLEANING OF OIL PAINTINGS BEFORE 1700. Studies in Conservation, 35(sup1), 70-72. doi:10.1179/sic.1990.35.s1.016Bruckle, I., Thornton, J., Nichols, K., & Strickler, G. (1999). Cyclododecane: Technical Note on Some Uses in Paper and Objects Conservation. Journal of the American Institute for Conservation, 38(2), 162. doi:10.2307/3180044Rowe, S., & Rozeik, C. (2008). The uses of cyclododecane in conservation. Studies in Conservation, 53(sup2), 17-31. doi:10.1179/sic.2008.53.supplement-2.17Maish, J. P., & Risser, E. (2002). A Case Study in the Use of Cyclododecane and Latex Rubber in the Molding of Marble. Journal of the American Institute for Conservation, 41(2), 127. doi:10.2307/3179789Lenk, R. S., Fellers, J. F., & White, J. L. (1977). Comparative Study of Polyamides from Bisacid A2. Polymer Journal, 9(1), 9-17. doi:10.1295/polymj.9.9Carvalho, P. H. A., Barreto, J. B., Braga, R. A., & Rabelo, G. F. (2009). Motility parameters assessment of bovine frozen semen by biospeckle laser (BSL) system. Biosystems Engineering, 102(1), 31-35. doi:10.1016/j.biosystemseng.2008.09.025Richards, L. M., Kazmi, S. M. S., Davis, J. L., Olin, K. E., & Dunn, A. K. (2013). Low-cost laser speckle contrast imaging of blood flow using a webcam. Biomedical Optics Express, 4(10), 2269. doi:10.1364/boe.4.002269Ganilova, Y. A., & Ulyanov, S. S. (2006). A study of blood flow in microvessels using biospeckle dynamics. Biophysics, 51(2), 299-304. doi:10.1134/s0006350906020230Murialdo, S. E., Sendra, G. H., Passoni, L. I., Arizaga, R., Gonzalez, J. F., Rabal, H., & Trivi, M. (2009). Analysis of bacterial chemotactic response using dynamic laser speckle. Journal of Biomedical Optics, 14(6), 064015. doi:10.1117/1.3262608González-Peña, R. J., Braga, R. A., Cibrián, R. M., Salvador-Palmer, R., Gil-Benso, R., & Miguel, T. S. (2014). Monitoring of the action of drugs in melanoma cells by dynamic laser speckle. Journal of Biomedical Optics, 19(5), 057008. doi:10.1117/1.jbo.19.5.057008Arizaga, R., Grumel, E. E., Cap, N., Trivi, M., Amalvy, J. I., Yepes, B., & Ricaurte, G. (2006). Following the drying of spray paints using space and time contrast of dynamic speckle. Journal of Coatings Technology and Research, 3(4), 295-299. doi:10.1007/s11998-006-0025-2Faccia, P. A., Pardini, O. R., Amalvy, J. I., Cap, N., Grumel, E. E., Arizaga, R., & Trivi, M. (2009). Differentiation of the drying time of paints by dynamic speckle interferometry. Progress in Organic Coatings, 64(4), 350-355. doi:10.1016/j.porgcoat.2008.07.016Mavilio, A., Fernández, M., Trivi, M., Rabal, H., & Arizaga, R. (2010). Characterization of a paint drying process through granulometric analysis of speckle dynamic patterns. Signal Processing, 90(5), 1623-1630. doi:10.1016/j.sigpro.2009.11.010Budini, N., Mulone, C., Balducci, N., Vincitorio, F. M., López, A. J., & Ramil, A. (2016). Characterization of drying paint coatings by dynamic speckle and holographic interferometry measurements. Applied Optics, 55(17), 4706. doi:10.1364/ao.55.004706Brunel, L., Brun, A., & Snabre, P. (2006). Microstructure movements study by dynamic speckle analysis. Speckle06: Speckles, From Grains to Flowers. doi:10.1117/12.695493Braga, R. A., & González-Peña, R. J. (2016). Accuracy in dynamic laser speckle: optimum size of speckles for temporal and frequency analyses. Optical Engineering, 55(12), 121702. doi:10.1117/1.oe.55.12.121702Moreira, J., Cardoso, R. R., & Braga, R. A. (2014). Quality test protocol to dynamic laser speckle analysis. Optics and Lasers in Engineering, 61, 8-13. doi:10.1016/j.optlaseng.2014.04.005Ansari, M. Z., & Nirala, A. K. (2016). Biospeckle numerical assessment followed by speckle quality tests. Optik, 127(15), 5825-5833. doi:10.1016/j.ijleo.2016.04.010Oulamara, A., Tribillon, G., & Duvernoy, J. (1989). Biological Activity Measurement on Botanical Specimen Surfaces Using a Temporal Decorrelation Effect of Laser Speckle. Journal of Modern Optics, 36(2), 165-179. doi:10.1080/09500348914550221Braga, R. A., Nobre, C. M. B., Costa, A. G., Sáfadi, T., & da Costa, F. M. (2011). Evaluation of activity through dynamic laser speckle using the absolute value of the differences. Optics Communications, 284(2), 646-650. doi:10.1016/j.optcom.2010.09.064Narita, T., Beauvais, C., Hébraud, P., & Lequeux, F. (2004). Dynamics of concentrated colloidal suspensions during drying --aging, rejuvenation and overaging. The European Physical Journal E, 14(3), 287-292. doi:10.1140/epje/i2004-10018-0Puspasari, I., Talib, M. Z. M., Daud, W. R. W., & Tasirin, S. M. (2014). Characteristic Drying Curve of Oil Palm Fibers. International Journal on Advanced Science, Engineering and Information Technology, 4(1), 20. doi:10.18517/ijaseit.4.1.361Bellagha, S., Amami, E., Farhat, A., & Kechaou, N. (2002). DRYING KINETICS AND CHARACTERISTIC DRYING CURVE OF LIGHTLY SALTED SARDINE (SARDINELLA AURITA). Drying Technology, 20(7), 1527-1538. doi:10.1081/drt-120005866Van der Kooij, H. M., Fokkink, R., van der Gucht, J., & Sprakel, J. (2016). Quantitative imaging of heterogeneous dynamics in drying and aging paints. Scientific Reports, 6(1). doi:10.1038/srep34383Vaz, P., Pereira, T., Figueiras, E., Correia, C., Humeau-Heurtier, A., & Cardoso, J. (2016). Which wavelength is the best for arterial pulse waveform extraction using laser speckle imaging? Biomedical Signal Processing and Control, 25, 188-195. doi:10.1016/j.bspc.2015.11.01

El San Sebastián de la antigua colección Navarro Alcacer. Redescubrimiento de una tabla de Juan de Juanes a través de su estudio histórico y científico

[ES] El presente artículo, es el resultado del análisis e identificación de la obra San Sebastián, conservada en la colección Navarro Alcácer en Valencia desde finales del siglo XIX. El reconocimiento de la autoría de la obra, se ha basado en un amplio análisis histórico-artístico, sobre la pintura de Juan de Juanes, sus influencias artísticas y la iconografía representada, continuando con el estudio científico-técnico de los materiales constitutivos de la obra, aproximando de una forma certera la tabla a la producción juanesca de mediados del siglo XVI.[EN] This scientific article is the result of the analysis and identification of the work Saint Sebastian, preserved in the Navarro Alcácer collection since the end of the 19th century. In it, an attempt is made to clarify the authorship of the work, basing its final conclusion on the historical-artistic analysis and on the scientific-technical on Juan de Juanes' painting, his artistic influences and the iconography represented, continuing with the study of its materials, which have made it possible to approximate the table in an accurate way to the Juanes production of mid 16th century.García Sanz, AL.; Guerola Blay, V.; Pérez Marín, E. (2020). El San Sebastián de la antigua colección Navarro Alcacer. Redescubrimiento de una tabla de Juan de Juanes a través de su estudio histórico y científico. Arché. (13 - 14 - 15):103-112. http://hdl.handle.net/10251/15645610311213 - 14 - 1

Constructive and formal typology of the Neo-baroque altarpiece of the island of La Gomera

En este artículo se realiza un estudio técnico constructivo de los retablos neobarrocos pertenecientes a las iglesias y ermitas no privadas de la isla de La Gomera. Se trabajan veintidós obras repartidas por sus seis municipios, las cuales poseen unas características concretas en cuanto a sus estructuras, técnicas y ornamentación. Se analizan sus características y se hace un estudio comparativo entre las obras y se comprueba que se trata de retablos de pequeñas dimensiones, de trazas bastante parecidas, situados en el testero de los templos ofreciendo un solo punto de vista, con ensamblaje, sujeción y ornamentación prácticamente iguales, creadas en su inmensa mayoría por el mismo autor entre finales del siglo xx y principios del xxi y que poseen un buen estado de conservación.In this article a constructive technical study of the neo-baroque altarpieces belonging to churches and not private chapels of the island of La Gomera is done. Twenty works spread over six municipalities which have specific characteristics in terms of their structures, techniques and ornamentation are concerned are working. Its characteristics are analyzed and a comparison is made between the works and it is found that are works of small dimensions, quite similar traces, located in the front wall of the temples offering a single point of view, with assembly, support and ornamentation almost the same, the vast majority created by the same author from the late twentieth century and early twenty-first and they have a good condition

Study on the impregnation of Laropal A81 to consolidate the wood support in easel paintings

[EN] The following work is focused on the study of the suitability of the urea-aldehyde resin, commercially known as Laropal (R) A81, for consolidation treatments on deteriorated wood from panel paintings. The physicochemical properties of this resin, such as the low molecular weight, low viscosity in solution and, interestingly, the possibility to be dissolved in low-toxicity solvents, suggest that Laropal (R) A81 could penetrate well into the wood microstructure thus offering an alternative option to other resins which require the use of more harmful solvents. The behaviour of Laropal (R) A81 for the consolidation of deteriorated wood was compared to that of other two resins widely used as consolidants - Regalrez (R) 1126 and Paraloid (R) B72. Laropal (R) A81 was dissolved in Mostanol and in Dowanol PM, the Paraloid (R) B72 in butyl ethanoate and the Regalrez (R) in cyclohexane. ATR-FTIR was used for the assessment of resin retention and penetration depth in the wood, whereas FESEM images allowed us to evaluate the morphological changes undergone by the wood as a consequence of the application of the consolidation treatments. The changes in the gloss of the wood were also evaluated, which complemented the results obtained by the other two tests. According to the results obtained in this study, we argue that urea-aldehyde resin has good specificities (good retention and penetration depth) in order to be used as a consolidant for deteriorated wood in easel paintings.Carvalho, CR.; Osete Cortina, L.; Araujo, ME.; Pérez-Marín, E.; Dos Santos Bailao, AM. (2021). Study on the impregnation of Laropal A81 to consolidate the wood support in easel paintings. International Journal of Conservation Science. 12(3):869-878. http://hdl.handle.net/10251/186043S86987812

La tipología constructiva y formal del retablo neobarroco de la isla de La Gomera

[EN] «Constructive and formal typology of the Neo-baroque altarpiece of the island of La Gomera». In this article a constructive technical study of the neo-baroque altarpieces belonging to churches and not private chapels of the island of La Gomera is done. Twenty works spread over six municipalities which have specific characteristics in terms of their structures, techniques and ornamentation are concerned are working. Its characteristics are analyzed and a comparison is made between the works and it is found that are works of small dimensions, quite similar traces, located in the front wall of the temples offering a single point of view, with assembly, support and ornamentation almost the same, the vast majority created by the same author from the late twentieth century and early twenty-first and they have a good condition.[ES] En este artículo se realiza un estudio técnico constructivo de los retablos neobarrocos pertenecientes a las iglesias y ermitas no privadas de la isla de La Gomera. Se trabajan veintidós obras repartidas por sus seis municipios, las cuales poseen unas características concretas en cuanto a sus estructuras, técnicas y ornamentación. Se analizan sus características y se hace un estudio comparativo entre las obras y se comprueba que se trata de retablos de pequeñas dimensiones, de trazas bastante parecidas, situados en el testero de los templos ofreciendo un solo punto de vista, con ensamblaje, sujeción y ornamentación prácticamente iguales, creadas en su inmensa mayoría por el mismo autor entre finales del siglo xx y principios del xxi y que poseen un buen estado de conservación.Calero-Cordobés, MJ.; Pérez Marín, E.; Roig Picazo, MP. (2017). La tipología constructiva y formal del retablo neobarroco de la isla de La Gomera. Revista de Historia Canaria (Online). 199:81-104. http://hdl.handle.net/10251/102486S8110419

Apuntes sobre la historia del retablo barroco en Canarias y sus influencias artísticas

Aunque el arte en Canarias surge inmediatamente después de su conquista no es hasta los siglos XVII y XVIII en pleno desarrollo del arte barroco cuando se puede hablar de un arte propiamente canario por lo que podemos decir que el verdadero arte canario es de estilo barroco. Este, a diferencia del barroco de fuera de las islas, se desarrolla con una marcada influencia de corrientes externas como las provenientes de Castilla y Andalucia, de Portugal y en mayor medida de América. Se realizan ahora obras de arte canarias con una marcada influencia externa, pero a las que se les imprime un determinado individualismo y encanto que las hacen ser obras marcadamente canarias. Destacan en éstas los retablos barrocos canarios definidos por una serie de características que los hacen ser verdaderas obras típicamente canarias.Calero Cordobés, MJ.; Pérez Marín, E.; Roig Picazo, MP. (2017). Apuntes sobre la historia del retablo barroco en Canarias y sus influencias artísticas. Arché. (11 - 12):201-210. http://hdl.handle.net/10251/10130820121011 - 1

Tipología constructiva del retablo neobarroco de la isla de la Gomera

En esta investigación se realiza un estudio técnico constructivo de los retablos neobarrocos pertenecientes a las iglesias y ermitas no privadas de la isla de La Gomera. Se trabajan veintidós obras repartidas por sus seis municipios las cuales poseen unas características concretas en cuanto a sus estructuras, técnicas y ornamentación se refiere. Se analizan sus características y se hace un estudio comparativo entre las obras comprobándose que se trata de obras de pequeñas dimensiones, de trazas bastante parecidas, situadas en el testero de los templos ofreciendo un solo punto de vista, con ensamblaje, sujeción y ornamentación prácticamente iguales, creadas en su inmensa mayoría por el mismo autor entre finales del siglo XX y principios del XXI y que poseen un buen estado de conservación.Calero Cordobés, MJ.; Pérez Marín, E.; Roig Picazo, MP. (2017). Tipología constructiva del retablo neobarroco de la isla de la Gomera. Arché. (11 - 12):211-220. http://hdl.handle.net/10251/10130921122011 - 1