Paintings, sculpture and polychrome

33 Items

All Items

Colour in Iberian Iron Age architectural sculpture: the case of Cerro de la Merced

Fernando Quesada Sanz, Jesús Robles Moreno, Enrique Parra Crego, María Isabel Sánchez Marqués
The (after)lives of the pseudo-sumptuous surfaces: the case of the Venetian Gothic and Renaissance wooden sculpture in the Adriatic

Matko Marušić
Beyond art technical sources: understanding colour production in Andalusi texts

Ana Miranda, Isabel Pombo Cardoso
Visible materials, invisible meanings: colour-based hierarchies in the Middle Ages

Grazia Maria Fachechi, Alberto Virdis
Crafting culture in the Adriatic: a case of woodcarvers and painters in Quattrocento Dubrovnik

Matevž Remškar
Documentary survey on the life and mural painting works of Brazilian artist Gilda Neuberger (1911-2011)

Glauzia Wanzeller Martins , Natália Gomes, Teresa Ferreira, Milene Gil Casal

15-31
Searching for the original portrait of Afonso de Albuquerque – new revelations from the Viceroys Gallery of Goa

Teresa Reis, Sara Valadas, Ana Machado , Luís Piorro , Nuno Carriço, Ana Cardoso, Ana Teresa Caldeira, Fernando António Baptista Pereira, António Candeias

43-59
The Virgin of the Snows of San Isidoro’s parish in Sevilla: a “fernandine” image or a nineteenth-century recreation?

Benjamín Domínguez Gómez, Juan Antonio Silva Fernández

50-64
The colours of deception: marble imitations in Alentejo stucco altarpieces

Patrícia Monteiro

65-77
The Egyptian coffin from the Archaeological Museum of Carmo: material and technical study

Isabel Pombo Cardoso, Teresa Quilhó, Vicelina Sousa, Sara Santana de Sá, Susana França de Sá, Vera Martins, Célia Pereira, Rogério Sousa

95-116
Retouching the wall paintings of the Nossa Senhora da Piedade Hermitage, Loulé: technical choices

Giuseppe Agulli, Nuno Proença, Maria João Revez, Marta Raposo

49-67
Analytical characterization of academic nude paintings from the Faculty of Fine Arts of the University of Lisbon

Ana Mafalda Cardeira, Ana Margarida Cardoso, Cristina Azevedo Tavares, Fernando António Baptista Pereira, António Candeias

81-95
Analysis of the mudejar polychrome decoration of the Patio de las Doncellas. Interventions carried out throughout its history

Ana I. Calero-Castillo, Ana Coba Peña, Olimpia López Cruz, Ana García Bueno

8-23
A survey of acrylic sheet in Portuguese art collections

Sara Babo, Joana Lia Ferreira

61-70
Technical approach and curative conservation and restoration processes of a papier machê giant: “La Turca” from the Corpus de Xàtiva

Antoni Colomina Subiela, Vicente Guerola Blay, Anastasia Papenkova

137-153
Application of light sources on photogrammetric models for the diagnosis and virtual restoration of objects in polychrome wax

Emanuel Sterp Moga, Óscar Hernández-Muñoz, Alicia Sánchez-Ortiz

10-21
Intervention in Mannerists wooden paintings representing Saint Sebastian and Saint Lucy, by Belchior de Matos, constituents of a diptych of the chapel of Geraldes, in Peniche

Elisabete Ferreira, António João Cruz , Carla Rego

49-57
Challenges in the conservation and restoration of processional banners – a case study

Ana Rita Dias, Ana Bidarra, Pedro Antunes

81-95
Defining the first preventive conservation guidelines for hand-painted magic lantern glass slides

Ângela Santos, Beatriz Rodrigues, Vanessa Otero, Márcia Vilarigues

100-115
Enlarged paintings: a proposal for classification

Ana Isabel López Bonilla, José Manuel Barros García, Susana Martín Rey

57-68
Low toxicity solvent compositions for varnishes formulations for use in art conservation

Mariah Boelsums, João Cura D’Ars de Figueiredo Junior, Luiz Antônio Cruz Souza

69-79
Clothed wax effigies: construction materials, challenges and suggestions for preventive conservation

Christos Karydis, Evangelia Kyriazi, Christina-Alkisti Staka

62-81
Wax resin lining techniques: Edson Motta’s training at the Fogg Conservation Center and its adaptation to the Brazilian reality

May Paiva, Maria Aguiar, Eduarda Vieira

82-89
Scenery painting in the 19th century in the context of tempera painting on canvas: methodology and materials

Sonia Santos Gómez

19-30
Chromatic changes in paintings of Adriano de Sousa Lopes after the removal of aged varnish

João Linhares, Liliana Cardeira, Ana Bailão, Ruben Pastilha, Sérgio Nascimento

50-64
Study on alternative textiles to Tetex TR for use as reinforcement material in the restoration of paintings on canvas support: first results

Daniel Morales Martín, Alicia Sánchez Ortiz

10-20
Identification of the type of paint, acrylic or vinyl, in works of two contemporary painters, Manuel Vilarinho and Pedro Cabrita Reis, by ATR-FTIR

Maria Eduarda Araújo, Oleksander Pavlyshyn, Alice Nogueira Alves

109-115
An Artist’s Sketchbook: the former altarpiece of Goa Cathedral (India) attributed to the painter Garcia Fernandes – iconographic and stylistic influences and underdrawing study

Vanessa Antunes, Vitor Serrão, António Candeias, José Mirão, Sara Valadas, Maria Luísa Carvalho

73-87
Preparing the foundation for stable gilding: the origins of materials and practices – a review

Isabel Pombo Cardoso

28-37
Emulsion system without surfactant as an alternative to the use of a solvent gel

Paula Pérez Bento, José Luis Regidor Ros, Pilar Roig Picazo

101-108
The Virgin with the Sleeping Child Jesus: study of two overlapping images

Ana Calvo, Ruth Chércoles, Alicia Sánchez, Margarita San Andrés

73-90
Microclimate frame for paintings on canvas exposed to extreme fluctuations in relative humidity

Sara Sá, Isabel Pombo Cardoso, Leslie Carlyle, Raquel Marques

21-33
Identification of materials used in a wooden coffin lid covered with composite layers dating back to the Ptolemaic period in Egypt

Nour Mohamed Badr, Mona Fouad Ali, Nesrin M. N. El Hadidi, Gamal Abdel Naeem

11-24