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

  • Marta Marques Aleixo Faculdade de Belas-Artes, Universidade de Lisboa, Lisboa.
  • Ana Bailão Faculdade de Belas-Artes (CIEBA); Centro de Investigação em Ciência e Tecnologia das Artes (CITAR), Universidade Católica Portuguesa
  • Andreia Gomes Centro de Física, Universidade de Minho, Gualtar Campus, Gualtar, Braga, Portugal.
  • João Linhares Centro de Física, Universidade de Minho, Gualtar Campus, Gualtar, Braga, Portugal.
  • Margarita San Andrés Universidad Complutense de Madrid, Painting and Restoration Department
  • Sérgio Nascimento Centro de Física, Universidade de Minho, Gualtar Campus, Gualtar, Braga, Portugal.
DOI: https://doi.org/10.37558/gec.v18i1.817
Keywords: Chromatic Reintegration, Tri-Funori®, Gouaches, Monochromatic, Non-varnished, Acrylics, Oils

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® pigment dispersed in the Tri-Funori® binding medium and with Winsor & Newton® Designers Gouache, both aqueous and non-toxic.

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Author Biographies

Marta Marques Aleixo, Faculdade de Belas-Artes, Universidade de Lisboa, Lisboa.

Graduated in Sciences of Art and Heritage and master in Sciences of Conservation, Restoration and Production of Contemporary Art by the Faculty of Fine Arts of the University of Lisbon. Her dissertation focused on chromatic reintegration in contemporary painting. Worked in conservation and restoration field in which performed chromatic reintegration in tile panels. Currently is on her first year of Ph.D. in Fine Arts in the specialty of Sciences of Art, at the same institution.

Ana Bailão, Faculdade de Belas-Artes (CIEBA); Centro de Investigação em Ciência e Tecnologia das Artes (CITAR), Universidade Católica Portuguesa

Diploma in Conservation and Restoration by the Polytechnic Institute of Tomar (2005) and a master´s degree in Painting Conservation by the Portuguese Catholic University (2010). The master research was about methodologies and techniques of retouching. PhD in Conservation of Paintings at the same university, in collaboration with the Centro de Investigação em Ciência e Tecnologia das Artes (CITAR) and the Instituto del Patrimonio Cultural de España (IPCE), Madrid. The doctoral research was about the criteria and methodologies which might help to enhance the quality of painting retouching. The projects are presented through publications, lectures, exhibitions and presentations. Teaching about conservation and restoration, especially chromatic retouching, since 2008. Since 2004 carrying out conservation and restoration works.

Andreia Gomes, Centro de Física, Universidade de Minho, Gualtar Campus, Gualtar, Braga, Portugal.

Andreia E. Gomes received her undergraduate degree in Optometry and Vision Sciences, master’s degree in Advanced Optometry and postgraduation in Health Units Managements at the University of Minho (Braga, Portugal). She is been doing research on color vision, visual perception and optics and its various applications in different fields and participating in several events related to vision sciences and color vision. Presently she is a Ph.D. student at the University of Minho with a project entitled “Tuning illumination and colored optical filters for optimal viewing of human skin”.

João Linhares, Centro de Física, Universidade de Minho, Gualtar Campus, Gualtar, Braga, Portugal.

João M. M. Linhares is currently an assistant professor at the Department of Physics at the University of Minho (Braga, Portugal), after teaching at the Department of Vision and Hearing Sciences at Anglia Ruskin University (Cambridge, U.K.). He received his undergraduation in Optometry and Vision Sciences from the University of Minho (Braga, Portugal), his M.Phil. from the University of Manchester (Manchester, U.K.) and his Ph.D. at the University of Minho (Braga, Portugal). His research focuses on hyperspectral imaging in complex scenes, color vision, color deficiency and colorimetry.

Margarita San Andrés, Universidad Complutense de Madrid, Painting and Restoration Department

Magarita San Andrés, titular teacher and researcher at Universidad Complutense de Madrid, Painting and Restoration Department, with a PhD in Chemistry in the same institution. Has participated in several international projects and congresses. Develops its research projects in the material study of heritage, in polychrome works; study of polymeric materials used for the treatment of conservation and restoration works; history of chemistry and the production of artistic materials.

Sérgio Nascimento, Centro de Física, Universidade de Minho, Gualtar Campus, Gualtar, Braga, Portugal.

Sérgio M. C. Nascimento is an associate professor with aggregation of physics at Minho University, Portugal, where he teaches optics, vision sciences, and color science. His research focuses on colorimetry and color vision, in particular applications of spectral imaging, color constancy and color rendering, color in art and models of color vision. He is a member of the Board of Directors of the International Color Vision Society and topical editor for color vision of the Journal of the Optical Society of America A.

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Published
2020-12-10
How to Cite
Marques Aleixo, M., Bailão, A., Gomes, A., Linhares, J., San Andrés, M., & Nascimento, S. (2020). Chromatic reintegration in contemporary monochromatic unvarnished paintings: a case study based on artwork from Jorge Martins. Ge-Conservacion, 18, 328-338. https://doi.org/10.37558/gec.v18i1.817
Issue
Vol. 18 (2020): Ge-conservación Nº18
Section
Suplemento
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