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Estofado e policromie: osservazioni sulla tecnica attraverso la testimonianza di Francisco Pacheco
No full textL’articolo è dedicato al commento di alcuni passi del trattato El arte de la pintura del pittore sivigliano Francisco Pacheco (1564-1644), che illustrano i procedimenti per la realizzazione della policromia nelle sculture lignee, attività che l’autore aveva ampiamente praticato con indiscussa perizia (sue le policromie di numerose opere degli scultori Gaspar Nuñez Delgado e Juan Martínez Montañés). Pacheco riserva una descrizione particolareggiata all’esecuzione degli incarnati — che possono essere lustri («de polimiento») o matti («de mate») — alle dorature e alla realizzazione dell’«estofado». Con questo termine egli descrive una tecnica di pittura a tempera sull’oro, che prevede spesso l’imitazione di broccati tessuti con fili d’oro, ma anche diverse altre forme decorative, talvolta realizzate “graffiando” il colore con uno stilo per scoprire lo strato di oro sottostante.
La tecnica esecutiva delle policromie di un gruppo di opere napoletane dei primi decenni del XVII secolo è stata esaminata, per riscontrarvi corrispondenze e differenze coi procedimenti descritti da Pacheco. Si è individuata così nel contempo anche in Italia una lunga tradizione nell’esecuzione di policromie a “sgraffito”, rilevando quindi come queste non siano da ritenersi necessariamente indice di un influsso iberico.This article is dedicated to a commentary on some of the steps from the treatise El arte de la Pintura by Francisco Pacheco of Seville (1564–1644), who illustrated the process of realizing polychrome treatments for wood sculptures, an activity the author practised widely with indisputable ability (he is responsible for numerous polychromes of works by the sculptors Gaspar Nuñez Delgado and Juan Martínez Montañés). Pacheco included an itemized description of the execution of flesh tones–which can be lustrous or de polimiento, and matte or de mate–and gold leaf, and of the realization of estofado. With this term he describes the technique of painting tempera on top of gold leaf–often used to imitate brocade fabrics full of gold thread, as well as other decorative forms such as graffiando, realised by scraping the colour with a stylus in order to uncover the layer of gold underneath. The polychromes of a group of Neopolitan works from the first decades of the seventeenth century were examined in order to compare and understand where the techniques used correspond, and where they contradict the procedures described by Pacheco. In such a way it was possible to ascertain that in Italy there existed a long tradition of using polychromes a sgraffito, and that therefore these works are not necessarily an indication of an Iberian import
Literature and artistic practice in sixteenth-century Italy
No full textIn Literature and Artistic Practice in the Sixteenth Century Angela Cerasuolo, art historian and restorer, tracks the technical processes of painting through the cross-analysis of literary texts and works of art. Having traced the critical fortunes of the texts of the authors—Leonardo, Vasari, Armenini, Borghini, Lomazzo—she compares the information on drawing and painting, analysing the specific terminology, and identifying the materials and methods. Central themes of the theoretical debate—‘disegno’, ‘invenzione’, the contrast between ‘prestezza’ and ‘diligenza’, the ‘paragone’—are examined in the light of their relationship with the techniques. On the basis of scientific studies on the technical execution of paintings, works from the Capodimonte Museum, Naples are analysed as case studies
Approfondimenti su Sebastiano del Piombo a Capodimonte
No full textThe paper examines some issues in the production of Sebastiano related to the technical aspects and conservation of works and the history of collecting. A scientific analysis of Clemente VII kept in Capodimonte has identified the materials of the preparatory layer - made of oil and resin - used on the slate to prepare it to receive the paint layers, consistent with the account given by Vasari. A re-reading of the letters concerning the commission of Ubeda Pieta`, along with examination of the inventory of goods found in the house of the painter, highlights the importance given by Sebastiano to the presentation of his paintings with frames of marble, built on his design and under his supervision. Finally, an examination of Farnese inventories reveals the existence in the collection of Fulvio Orsini of several copies of paintings by Sebastiano made by Daniele da Volterra, one of which - the »testa di Rodomonte Gonzaga« - could be identified with a small painting kept in Capodimonte, a partial copy of the Hartford Warrior
Storia del restauro a Napoli e Regno nel XIX secolo: riflessioni in margine ad un convegno
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Andrea del Sarto a Capodimonte: una replica di bottega e una copia d'autore
No full textNel museo di Capodimonte sono presenti due opere sartesche: la copia del Ritratto di Leone X di Ra3aello, commissionata ad Andrea del Sarto da Ottaviano de Medici, e una buona replica di bottega della Madonna della Wallace Collection a Londra. Nella copia del ritratto di Raffaello lo studio tecnico condotto ha evidenziato un’esecuzione molto accurata e, allo stesso tempo, molto fluida che denota le eccezionali doti tecniche del pittore nell’approntare una copia precisa sin nei minimi dettagli di un’opera altrui. Relativamente al disegno preparatorio, si segnala in quest’opera l’uso di riferimenti costruttivi realizzati con incisioni. Come generalmente avviene nei dipinti su tavola di Andrea, anche nella copia napoletana della Wallace Madonna è stato riscontrato il trasporto del disegno mediante ricalco da cartone. Oltre allo studio dell’underdrawing questo dipinto è stato oggetto di una campagna diagnostica mediante analisi XRF, che ha consentito di indagare la composizione della tavolozza utilizzata.In the Museo di Capodimonte there are two Sartesque works: a copy of Raphael’s Portrait of Leo X, commissioned from Andrea del Sarto by Ottaviano de Medici, and a good replica of the Wallace Madonna. In the copy of Raphael’s portrait, the technical study conducted showed a very accurate and, at the same time, very fluid execution that denotes the exceptional technical skills of the painter in providing a precise copy of the details of the work of another artist. With regard to the preparatory drawing, in this work we note the use of incised lines used as guide-lines for the construction of the composition. As is generally the case in Andrea del Sarto’s paintings, and is also the case in the Neapolitan copy of the Wallace Madonna, the underdrawing consists in a tracing (calco) from the cartoon. In addition to the study of the underdrawing, this painting was also the object of investigation by XRF analysis, which allowed one to establish to some degree the composition of the palette employed
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