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Estudo e Intervenção na Pintura Fuga para o Egipto, atribuída a Francisco Antolínez e Sarabia
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O objetivo principal deste projeto foi realizar o estudo e intervenção da obra Fuga para
o Egipto, uma pintura a óleo sobre tela do acervo do Museu Nacional de Arte Antiga
(MNAA). Esta foi selecionada por se encontrar instável, o que justificava o seu tratamento
de conservação e restauro. O facto de, segundo os registos existentes, a obra nunca ter
sido exposta ou intervencionada no museu, resultava na carência de informação sobre
a mesma. Pretendeu-se com este projeto contribuir para o conhecimento da pintura e
possibilitar a sua preservação e futura exposição nas salas do museu.
O trabalho foi realizado durante o estágio no laboratório de conservação e restauro de
pintura do MNAA entre abril e dezembro de 2023. Para além do projeto sobre a pintura
Fuga para o Egipto, foram desenvolvidas em paralelo competências na área de conservação
e restauro de pintura em contexto de uma instituição museológica nacional.
Antes de dar início à intervenção, as necessidades de conservação da pintura foram
avaliadas e foi definida uma proposta de tratamento. O diagnóstico do estado de con-
servação da pintura Fuga para o Egipto permitiu perceber que esta se encontrava instável.
Entre outros problemas, a pintura apresentava o suporte colonizado com fungos, uma
reentelagem bastante degradada, e uma camada de verniz bastante amarelecida e oxidada,
que em combinação com a camada de sujidade superficial, impedia a leitura da imagem.
Após o diagnóstico, foi definida a proposta de tratamento e iniciada a intervenção, que
consistiu na limpeza do verso, consolidação de destacamentos, limpeza aquosa, remoção
do verniz e tratamento estrutural do suporte. Durante a intervenção houve um maior foco
no estudo da remoção de verniz. A intervenção não foi terminada, mas foram estabelecidos
os próximos passos, que passam pela aplicação de bandas de tensão, reintegração das
lacunas e aplicação de uma camada de verniz.
Foi ainda realizada uma pesquisa dos materiais e técnica artística da obra, e os es-
tratos preparatórios foram caracterizados por meio de análises laboratoriais em micro-
amostras e cortes estratigráficos, com as técnicas de micro-Fluorescência de Raios-X
(𝜇-XRF), micro-espectroscopia no Infravermelho por Transformada de Fourier (𝜇-FTIR) e
micro-espectroscopia de Raman (𝜇-Raman). Não tendo sido encontrada documentação
relativa aos materiais e técnicas de Francisco Antolínez e Sarabia, foi feita uma primeira aproximação ao estudo do pintor.
A partir do estudo da técnica artística foi possível contribuir com informações sobre a
estratigrafia da pintura, a construção da imagem, e os materiais nas camadas de preparação.
O sistema preparatório foi caracterizado como sendo composto por uma camada de
preparação encarnada de base oleosa com ocre vermelho, negro de carvão e gesso, seguida
de uma imprimadura de cor clara com ocre vermelho, negro de carvão e branco de chumbo.
A aplicação modelada da camada de imprimadura, com cores claras para influenciar a
luminosidade da pintura, revelou ser um aspecto característico da técnica deste artista
que poderá ser importante em estudos futuros de outras obras que lhe sejam atribuídas.
The main objective of this project was to carry out the study and restoration intervention of the painting Fuga para o Egipto, an oil on canvas painting from the collection of the National Museum of Ancient Art (MNAA). The painting was selected because it was in an unstable condition, which justified its conservation and restoration treatment. According to the existing records, the painting had never been exhibited or restored in the museum, resulting in a lack of information about it. With this project there was an aim to contribute to the knowledge of the painting and enable its preservation and future exhibition in the museum’s galleries. The project work was carried out during an internship at the MNAA’s painting con- servation and restoration laboratory, between April and December 2023. In addition to the conservation study and restoration of the painting Fuga para o Egipto, there was a simultaneous development of conservation work in the context of a national museum. Before starting the restoration intervention, the assessment of the painting’s conserva- tion requirements was conducted, and a treatment proposal was defined. The condition assessment of the painting Fuga para o Egipto revealed that it was unstable. Among other problems, the painting presented fungal colonization on the support, a highly degraded lining, and a layer of varnish that was very yellowed, oxidized and with a layer of surface dirt, that interfered with the reading of the image. After the condition assessment, the treatment proposal was defined, and the restoration intervention was initiated. The treatment consisted in cleaning the back and consolidating the flaking paint, followed by aqueous cleaning, varnish removal and structural treatment of the support. During the intervention there was a bigger focus on the study of the varnish removal. The restoration intervention was not finalized, but the next steps were established, which involve applying a strip lining, conducting loss reintegration, and applying a final varnish layer. Research on the materials and artistic technique of the painting was also executed, and the preparatory layers were characterized through scientific analyses on micro-samples and cross-sections, using techniques such as micro-X-ray Fluorescence (𝜇-XRF), micro- Fourier Transform Infrared Spectroscopy (𝜇-FTIR), and micro-Raman spectroscopy (𝜇- Raman). Since no documentation regarding the materials and techniques of Francisco Antolínez y Sarabia was found in the literature, this project made a first approximation to the study of this painter. By studying the artistic technique, it was possible to contribute with information about the painting’s stratigraphy, image construction, and materials in the preparation layers. The preparatory system was characterized as consisting of a red oil-based preparation layer with red ochre, carbon black, and gypsum, followed by a light-colored emprimadura with red ochre, carbon black, and lead white. The modeled application of the emprimadura, with light colors to influence the luminosity of the painted layers, proved to be a characteristic aspect of this artist’s technique that may be important in future studies of other works attributed to Francisco Antolínez.
The main objective of this project was to carry out the study and restoration intervention of the painting Fuga para o Egipto, an oil on canvas painting from the collection of the National Museum of Ancient Art (MNAA). The painting was selected because it was in an unstable condition, which justified its conservation and restoration treatment. According to the existing records, the painting had never been exhibited or restored in the museum, resulting in a lack of information about it. With this project there was an aim to contribute to the knowledge of the painting and enable its preservation and future exhibition in the museum’s galleries. The project work was carried out during an internship at the MNAA’s painting con- servation and restoration laboratory, between April and December 2023. In addition to the conservation study and restoration of the painting Fuga para o Egipto, there was a simultaneous development of conservation work in the context of a national museum. Before starting the restoration intervention, the assessment of the painting’s conserva- tion requirements was conducted, and a treatment proposal was defined. The condition assessment of the painting Fuga para o Egipto revealed that it was unstable. Among other problems, the painting presented fungal colonization on the support, a highly degraded lining, and a layer of varnish that was very yellowed, oxidized and with a layer of surface dirt, that interfered with the reading of the image. After the condition assessment, the treatment proposal was defined, and the restoration intervention was initiated. The treatment consisted in cleaning the back and consolidating the flaking paint, followed by aqueous cleaning, varnish removal and structural treatment of the support. During the intervention there was a bigger focus on the study of the varnish removal. The restoration intervention was not finalized, but the next steps were established, which involve applying a strip lining, conducting loss reintegration, and applying a final varnish layer. Research on the materials and artistic technique of the painting was also executed, and the preparatory layers were characterized through scientific analyses on micro-samples and cross-sections, using techniques such as micro-X-ray Fluorescence (𝜇-XRF), micro- Fourier Transform Infrared Spectroscopy (𝜇-FTIR), and micro-Raman spectroscopy (𝜇- Raman). Since no documentation regarding the materials and techniques of Francisco Antolínez y Sarabia was found in the literature, this project made a first approximation to the study of this painter. By studying the artistic technique, it was possible to contribute with information about the painting’s stratigraphy, image construction, and materials in the preparation layers. The preparatory system was characterized as consisting of a red oil-based preparation layer with red ochre, carbon black, and gypsum, followed by a light-colored emprimadura with red ochre, carbon black, and lead white. The modeled application of the emprimadura, with light colors to influence the luminosity of the painted layers, proved to be a characteristic aspect of this artist’s technique that may be important in future studies of other works attributed to Francisco Antolínez.
Descrição
Palavras-chave
Conservação Restauro Pintura Espanhola Remoção de Verniz