New insight on the underdrawing of 16th Flemish-Portuguese easel paintings by combined surface analysis and microanalytical techniques

Abstract

a b s t r a c tThis paper focusses on the study of the underdrawings of 16th century easel paintings attributed to the workshop of the Portuguese-Flemish Master Frei Carlos. This investigation encompasses multidisciplinary research that relates the results of surface exams (infrared reflectography, standard light photography and infrared photography) with analytical investigations.The surface analysis of Frei Carlos' underdrawings by infrared reflectography has shown heterogeneous work, revealing two different situations: (1) an abundant and expressive underdrawing, revealing a Flemish influence and (2) a simple and outlined underdrawing. This preliminary research raised an important question related to this Portuguese-Flemish workshop and to the analytical approach: Is the underdrawing's heterogeneity, as observed in the reflectograms, related to different artists or is this rather an effect that is produced due to the use of different materials in the underdrawing's execution? Consequently, if different materials were used, how can we have access to the hidden underdrawings? In order to understand the reasons for this dissemblance, chemical analysis of micro-samples collected in underdrawing areas and representing both situations were carried out by optical microscopy, micro Fourier transform infrared spectroscopy (-FTIR), scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM-EDX) and micro-Raman spectroscopy (-Raman). Taking into account the different possibilities and practical and theoretical limitations of surface and punctual examinations in the study of easel painting underdrawings, the methodology of research was adjusted, sometimes resulting in a re-analysis of experimental results. This research shows the importance of combining multispectral surface exams and chemical analysis in the understanding of the artistic creative processes of 16th century easel paintings.

Non-invasive techniques for revealing the palette of the Romantic painter Francesco Hayez

“…In I due apostoli Giacomo e Filippo the lines of the sketch are more marked, energetic and vigorous, as clearly visible in Figure 15, while in the other paintings mentioned above, the lines are lighter. In the sketch visible under the Ritratto di Luigia Vitali Mylius Vigoni, the underdrawing seems more controlled, and traces the contours of the facial details [Valadas 2016, Cardeira 2016, Carini 2013. The reflectography and infrared in false colour (IRFC) revealed past restoration works: in fact several pigments responded differently due to the fact that they had different compositions.…”

A Painter in the Shadow: Unveiling Conservation, Materials and Techniques of the Unknown Luso-Flemish Master of Lourinhã

“…Yellow [13]. A scarce drawing in certain works is contrastive with other paintings having an abundant drawing [10,11].…”

Unveiling the underprintings of a late-fifteenth-early-sixteenth century illuminated French incunabulum by infrared reflectography

“…It presents a set of 30 painted illustrations of different sizes and shapes, printed and then hand painted most probably at the time of its production. IR-reflectography has been widely used for underdrawings analysis in paintings, namely on canvas and wood paintings [9][10][11][12]. Although widely used for the analysis of sublayers, IR-reflectography does not provide reliable information on the estimation of the depth of the detected sublayers [13].…”

“…Although widely used for the analysis of sublayers, IR-reflectography does not provide reliable information on the estimation of the depth of the detected sublayers [13]. This is a technique of extreme importance for the Art History field, for what can be perceived from the specificities of the preparatory drawings, process for the drawing transfer, constructions of the paints strokes, artists' signatures, hidden inscriptions or any other details that may fingerprint the technique of a specific artist and/or workshop, or even missing texts in ancient papyrus [9,10,12,14,15]. Recent studies used IR reflectography to discriminate between handwritten and printed texts in 15th-17th century book production, based on the differences of contrast between carbon-based inks (printed text), iron-gall inks (handwritten text) and paper support [15].…”