丹古拉油画背景下的19世纪风景画:方法论与材料

IF 0.4 0 HUMANITIES, MULTIDISCIPLINARY Conservar Patrimonio Pub Date : 2020-03-17 DOI:10.14568/cp2018077
S. S. Gómez
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引用次数: 0

摘要

在整个绘画史上,蛋彩画发挥了多种作用。它们被用来覆盖大斋节的祭坛,做床的天篷和天花板,作为风琴门等。在19世纪和20世纪早期,它们被用作宫殿和剧院墙壁上的装饰,以及后者的风景。一般来说,这种蛋彩画表现出很大的比例,这需要特定的执行方法。那个时代的论文显示,当行刑进行时,画家如何拿着长柄的画笔,像扫帚一样在画布上行走。当时,人们已经开始使用源自现代工业活动的颜料,并与前几个世纪传统上使用的其他材料结合在一起。本文介绍了在画布上的蛋彩画的工作方法和材料,主要是在19世纪,为这一主题提供了一个知识基础。
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Scenery painting in the 19th century in the context of tempera painting on canvas: methodology and materials
Tempera painting on canvas has played multiple functions throughout the history of painting. They were used to cover altars in Lent, to make canopies and ceilings for beds, to act as organ doors, etc. In the 19th century and in the earlier 20th century, they were used as adornment on walls of palaces and theatres, as well as sceneries in the latter ones. Generally, this kind of tempera painting shows large proportions, which demanded a specific methodology of execution. Treatises of the epoch display how the painter, provided with paintbrushes of long handles, as brooms, walked on the canvases while the execution lasted. At that time, pigments derived from the activity of modern industry were already in use, in combination with other materials traditionally used in the previous centuries. This article presents the working methodology and materials used in tempera painting on canvas, mainly during the 19th century, providing a knowledge base for this subject.
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来源期刊
Conservar Patrimonio
Conservar Patrimonio HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.80
自引率
0.00%
发文量
5
审稿时长
12 weeks
期刊介绍: Conservar Património is a journal, published three times a year, that intends to create a space for the diffusion of conservator-restorers’ studies and activities. However, at a time when Conservation-Restoration pretends to develop further through collaboration with other areas of knowledge, such as History of Art, Archaeology, Museum Studies, Chemistry, Physics, Biology and other related disciplines from the fields of the natural and social sciences, the journal also receives contributions from any other provenance as long as directed towards the multiple dimensions of the works that integrate our Cultural Heritage. Theoretical issues on the conservation activity may also be submitted.
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