Dissertations / Theses on the topic 'Painting manuals'

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This thesis studies the restoration and preservation of Works of Art, with focus on the volume 112 from the Bibliotheca do Povo e das Escolas collection, entitled Restauração de Quadros e Gravuras, which was written by Manuel de Macedo and published in 1885. The collection aimed to compile curiosities and interests in studies, raising the interest in Reading. The volumes were written in ways that nonintelectuals could make use of its content. The volume selected for analysis shines a light on the value and preservation of monuments and precious artefacts found in the ancient art , as the author states in the Preface. This manual raises questions like Originality, forgery, conservation and restoration procedures, used materials, techniques of paintings and prints, that up to today are still subject of discussion, without cleared and difined standards. The research arises in the history of Science interface and technical studies on conservation and restoration in the eighteenth and nineteenth centuries, which marked the beginning of the practical and theoretical discussions on the preservation of historical heritage
O estudo realizado nesta dissertação a respeito da restauração e da conservação foca o volume 112 da coleção Bibliotheca do Povo e das Escolas, intitulado Restauração de Quadros e Gravuras, o qual foi escrito por Manuel de Macedo e publicado em 1885. Essa coleção tinha como propósito suprir curiosidades e interesses em estudos e incentivar a leitura, sendo preparada de modo que o leigo pudesse usufruir do conteúdo. O volume selecionado para análise é destinado a tratar do valor e da conservação dos monumentos e artefatos preciosos da arte antiga , como diz o autor no prefácio. Esse manual traz questões como originalidade, falsificação, os procedimentos de conservação e restauração, tipos de materiais utilizados, técnicas de pintura e gravura, que ainda hoje são aspectos em discussão, os quais não possuem parâmetros totalmente definidos. Nossa pesquisa se coloca na interface da história da ciência e da técnica com estudos sobre conservação e restauro nos séculos XVIII e XIX, marcados pelo início das discussões práticas e teóricas sobre a preservação do patrimônio histórico

Au cours de cette recherche, nous avons contribué à l’étude et à la caractérisation des pigments utilisés par le peintre français Étienne Dinet à l’aube du XXe siècle. Notre approche a consisté à nous appuyer sur les manuels de peinture écrits par le peintre (Les fléaux de la peinture) dans lesquels il expose sa recherche des matériaux à utiliser en peinture. En nous basant sur ces écrits, nous avons créé une base de données de photographies scientifiques et de spectres de réflectance (visible et proche infrarouge) pour pouvoir déterminer les pigments employés dans ses tableaux. Sept tableaux ont ensuite étudié. L’imagerie scientifique nous a permis de caractériser la palette du peintre, en particulier lorsque nous avons eu la possibilité d’associer plusieurs techniques d’analyse produisant des données complémentaires. Nous avons ainsi montré l’intérêt d’employer simultanément un ensemble de techniques non invasives d’imagerie pour la caractérisation des pigments : aucun prélèvement de matière picturale n’est nécessaire et la faible quantité de lumière irradiant l’œuvre durant les mesures n’affecte pas sa conservation. La photographie technique peut fournir de nombreuses informations sur l’état de conservation d’une peinture et nous permet de détecter les interventions de restaurations effectuées au cours du temps. Elle nous permet aussi de formuler des hypothèses sur la palette du peintre. Pour confirmer ces hypothèses, il est nécessaire d’effectuer des analyses comme la fluorescence des rayons X et l’imagerie hyperspectrale, qui fournissent des informations plus précises et dont l’interprétation est plus certaine
This research aims to contribute to the study and characterization of the pigments used by the French painter Étienne Dinet at the dawn of the 20th century. Our approach draws on painting manuals written by the artist (Les fléaux de la peinture), in which he shows his search for materials to be used in painting. Based on these writings, a database of scientific photographs and reflectance spectra (visible and near infrared) was created to determine the pigments used in his paintings. Seven paintings were then studied. Scientific imaging enabled us to characterize the painter’s palette, especially when we had the opportunity to combine several analytical techniques producing complementary data. We have thus shown the value of using a set of non-invasive imaging techniques simultaneously for pigment characterization: no pictorial material is required and the low amount of light radiation during measurements does not affect its conservation. Technical photography can provide a lot of information about the state of preservation of a painting and allows us to detect restoration interventions done over time. It also allows us to make hypotheses about the painter’s palette. To confirm these hypotheses, analyses such as X-ray fluorescence and hyperspectral imaging, which provide more accurate information and more direct interpretation, are required

La present tesi doctoral es centra en la figura de Manuel Rocamora Vidal (Barcelona, 1892-1976), col·leccionista, pintor, escriptor i promotor cultural. És especialment conegut com a col·leccionista d’indumentària antiga, aplegant un important conjunt de peces femenines, masculines, infantils i litúrgiques, així com els seus accessoris, des del segle XIV fins al segle XX, essent especialment nombroses les pertanyents als segles XVIII i XIX. Per aquest motiu, la resta de facetes del personatge s’han vist oblidades, i és per això que l’objectiu de la investigació és donar a conèixer totes les seves ocupacions i analitzar l’aportació i la importància global de Manuel Rocamora. L’estudi comença amb una semblança biogràfica del personatge, així com del seu cercle familiar i social, que ens ajuda a ubicar-lo dins el context artístic i burgès de la Barcelona del segle XX. A continuació es tracta la vessant més important, que és la del col·leccionisme, on s’emfatitza que, a part del seu recull d’indumentària, va configurar moltes altres sèries: nines i autòmats, pintura, ceràmica, mascarons de proa, reclams publicitaris, targes de visita, exlibris, etc. Moltes de les seves col·leccions varen ser prestades a exposicions o bé donades a diferents museus d’arreu de Catalunya i de Madrid, a part de conservar-se una selecció a la seva pròpia residència. Es destaca especialment la indumentària, fent un estudi sobre les seves peces més importants, el seu valor en conjunt, la formació de la col·lecció i la trajectòria per diversos museus, motivada per les donacions parcials a la Junta de Museus i als Museus d’Art de Barcelona, per ser definitivament donada a l’Ajuntament de Barcelona. Aquesta circumstància comportaria la constitució d’un museu propi situat al Palau del Marquès de Llió del carrer Montcada. Tot seguit s’aporta una panoràmica sobre la seva carrera com a pintor, participant en nombroses exposicions, tant individuals com col·lectives, a conegudes galeries barcelonines com La Pinacoteca o les Galeries Laietanes. A més, s’inclou un catàleg raonat de la seva producció. Igualment es fa esment a l’escriptura, amb una relació de les obres publicades; i a la labor com a promotor cultural dins l’àmbit barceloní, on fundà i promogué diverses associacions. Per últim es tracta la constitució de la Fundación Cultural Privada Rocamora, institució que preserva el seu llegat i fou creada a la mateixa residència de Rocamora després de la seva mort.
This doctoral thesis focuses on the figure of Manuel Rocamora Vidal (Barcelona, 1892-1976), collector, painter, writer and cultural promoter. He is best known as a collector of historical clothing, including an important set of women’s, men’s, children’s and liturgical pieces, as well as their accessories, from the fourteenth to the twentieth century, being especially numerous those belonging to the eighteenth and the nineteenth century. For this reason, the other facets of the character have been forgotten, which is why the aim of the research is to let know all his occupations and analyse the contribution and overall importance of Manuel Rocamora. The study begins with his biography, along with information about his family and social circle, which helps us to situate him in the artistic and bourgeois context of the twentieth century in Barcelona. Next is detailed the most important aspect, which is the collectionism, where it is emphasised that, apart from its clothing collection, he reunited many other series: dolls and automata, painting, ceramics, figureheads, advertising items, business cards, exlibris, etc. A lot of his collections were lent at exhibitions or donated to different museums around Catalonia and Madrid, apart from keeping a selection inside his own home. The clothing collection is specially highlighted. This work studies the most important pieces, its overall value, the formation of the collection and its trajectory between various museums, motivated by partial donations to the Junta de Museus and Museus d’Art de Barcelona, to be finally donated to the City Council of Barcelona. This circumstance would imply the constitution of a collector’s museum located at the Marquis of Llió Palace in Montcada Street. Next there is an overview of his career as a painter, since Rocamora participated in numerous exhibitions, both individual and collective, in remarkable art galleries of Barcelona such as La Pinacoteca or Galeries Laietanes. Moreover, it is included a catalogue raisonné of the artist’s work. Also it is referenced his writing, with a list of published works; and his labour as a cultural promoter especially in Barcelona, where he founded and promoted various associations. Finally, it is addressed the constitution of the Fundación Cultural Privada Rocmamora, an institution that preserves the collector’s legacy and was created in his residence right after his death.

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The literature based on the book Manual of painting and calligraphy by José Saramago (1977), aims to analyze existing homological procedures between this work and various painting trends, comparing the selected narrative with the convent Memorial works (2002), Blindness (2003) and The flashes of death (2009), by the same author, pointing out the manual singularities, great allegory of the others books and the composition of the artistic plans. The aim is also to point out the features in the novel, their main elements as characters, time and space. The process of creating the frame inside the work allows viewing the resources used by the author and how the work can be observed. The fact that the narrative is a work of literary art allows more detailed observation about the function and use of literary discourse and still speaking of this painting in the tables created by the painter in the narrative. Still pointing the artistic factor present in the work, the facts in José Saramago s work for the periods experienced by the art itself, its painters, the open studio driving process, the meta-language that is part of the work and even the use of simulation for the construction of the narrative can be observed. They are marked the several levels of existing simulation throughout the book and even a possible approach to the same work In search of lost time (1988), by Marcel Proust, through the book Moving museum (2004). It is concluded that the studies on the relationship between branches arts are very recent, so the approach that brings literature and painting allows contemplating a new path for these two artworks.
A pesquisa bibliográfica baseada no livro Manual de pintura e caligrafia, de José Saramago (1977), tem por objetivo analisar as relações de semelhança existentes entre essa obra e as várias tendências da pintura. Comparando a narrativa selecionada com as obras Memorial do convento (2002), Ensaio sobre a cegueira (2003) e As intermitências da morte (2009), do mesmo autor, apontando as singularidades do Manual de pintura e caligrafia (1977) e a vasta alegoria das demais obras e a composição dos planos artísticos. Visa-se ainda apontar as características presentes no romance e seus principais elementos como personagens, tempo e espaço. O processo de criação da moldura no interior da obra permite observar os recursos utilizados pelo autor e o modo como a obra pode ser observada. O fato de a narrativa ser uma obra de arte literária permite um olhar mais minucioso sobre a função e o uso do discurso literário e ainda o discurso da pintura presente nos quadros criados pelo pintor na narrativa. Ainda apontando o fator artístico presente na obra é possível também observar os fatos em relação aos períodos vividos pela própria arte, seus pintores, o processo de condução ao ateliê, a metalinguagem que faz parte da obra e ainda o uso da simulação para a construção da narrativa. São destacados os vários níveis de simulação existentes ao longo da obra e ainda uma possível aproximação com a obra Em busca do tempo perdido, de Marcel Proust (1988), por intermédio do livro Museu movente (2004). Conclui-se que os estudos sobre as relações entre-artes são ramos muito recentes e, portanto, a abordagem que aproxima a literatura e a pintura permite contemplar um novo caminho para essas duas artes.

In the three decades surrounding the Spanish-American war (1880-1910), three prominent Puerto Rican artists, Francisco Oller (1833-1917), Manuel E. Jordan (1853-1919), and Ramón Frade (1875-1954) created a group of paintings depicting "el jíbaro," the rural Puerto Rican farm worker, in a way that can be appropriately labeled "nationalistic." Using a set of motifs involving clothes, customs, domestic architecture and agricultural practices unique to rural Puerto Rico, they contributed to the imagination of a communal identity for creoles at the turn of the century. ("Creole" here refers to individuals of Spanish heritage, born on the island of Puerto Rico.) This set of shared symbols provided a visual dimension to the aspirational nationalism that had been growing within the creole community since the mid- 1800s. This creollismo mythified the agrarian laborer as a prototypical icon of Puerto Rican identity. By identifying themselves as jíbaros, Puerto Rican creoles used jíbaro self-fashioning as a way to define their community as unique vis a vis the colonial metropolis (first Spain, later the United States). In this thesis, I will examine works by Oller, Jordan and Frade which employ jíbaro motifs to engage this creollismo. They do so by painting the jíbaro himself, his culture and surroundings, the fields in which he worked, and the bohío hut which was his home. Together, these paintings form a body of jíbaro imagery which I will contextualize, taking into account both the historical circumstances of jíbaro life, as well as the ways in which signifiers of jibarismo began to gain resonance amongst creoles who did not strictly belong to the jíbaro class. The resulting study demonstrates the importance of the mythified jíbaro figure to the project of imagining Puerto Rican creole society as a nation, and the extent to which visual culture participated in this creative process.

Aquesta investigació reconstrueix la trajectòria vital i professional de Manuel i Francesc Tramullas, dos dels pintors més rellevants del segle XVIII català. La monografia dedicada a la vida i obra d’ambdós germans insereix la seva activitat en el panorama històric, artístic i cultural de la Barcelona del segle XVIII i s’emmarca en la pràctica de la pintura des del principi fins a les darreries del segle XVIII. L’estudi al voltant de les seves monografies permet recórrer, des d’una visió interna i personalitzada, l’evolució dels canvis socials que va patir l’ofici de pintor des de la lluita iniciada pel seu mestre Antoni Viladomat fins a l’establiment de l’Acadèmia de Tres Nobles Arts per part de Manuel i Francesc Tramullas, juntament amb la formació i activitat dels respectius deixebles també en relació amb l’Escola Gratuïta de Dibuix de Barcelona (1775). La present tesi vol conciliar la imatge individual i al mateix temps comparativa entre Manuel i Francesc Tramullas a fi de visualitzar les diferències entre el recorregut de l’un i de l’altre, i situar la seva activitat en el conjunt de pintors actius a Barcelona al llarg del segle XVIII. Amb relació als seus catàlegs, la nostra investigació exposa cronològicament els treballs que van dur a terme al llarg de la seva trajectòria i té en consideració les desaparegudes i conservades, les peces autògrafes, el treballs documentats i un nombre reduït d’atribuïts. Concretament, l’estudi al voltant de l’obra de Manuel i Francesc Tramullas s’articula a partir de la lectura individual de cada peça on es té en compte la resta de treballs dels respectius catàlegs com també obres d’altres autors relacionades iconogràfica i estilísticament. L’anàlisi dut a terme sobre la trajectòria artística d’ambdós germans també posa èmfasi en els recursos compositius, tècnics i estilístics recurrents i distintius en l’obra de Manuel i Francesc, al mateix temps que evidencia els possibles contactes entre el llenguatge tardobarroc que emmarca la seva producció i els referents pictòrics i gràfics de l’escola italiana i francesa del segle XVII i XVIII.
This research reconstructs the professional and vital career of Manuel and Francesc Tramullas, two of the most relevant Catalan painters of the eighteenth century. The monography is dedicated to the life and work of both painters and demarcates their activity within the historical, artistic and cultural context of the 18th century. Our research in the present study is framed by the painting practice in Barcelona from the beginning until the end of the XVIII century. The research that we have made about the monographies of the two artists enables us to cover, from an internal and personalised point of view, the evolution of the social changes that the painter’s profession suffered: from the fight initiated by his mentor Antoni Viladomat until the establishment of the Acadèmia de Tres Nobles Arts by Manuel and Francesc Tramullas, in conjunction with the education and the activity of their corresponding disciples as part of the Escola Gratuïta de Dibuix de Barcelona (1775). The project pretends to find a balance between both the personal and the comparative image of Manuel and Francesc Tramullas in order to visualise the differences between both careers and to establish their activity amid the one from the current painters in Barcelona throughout the XVIII century. Regarding their catalogues, our research displays the artworks that these painters carried out during their career in a chronological order and takes into consideration the missing and preserved works, the autograph pieces and documented works, as well as a small number of attributions. In particular, the study concerning Manuel and Francesc Tramullas’ work is assembled from the personal reading of each piece of art, from which we have taken into account the rest of the works corresponding to their catalogues as well as from other authors that are iconographic and stylistically related. The analysis carried out about both brothers’ artistic careers highlights the recurring and distinctive compositional, technical and stylistic resources of their artworks. At the same time, it shows the possible contacts between the late Baroque languages that delimits their production, as well as the pictorial and graphic models from the Italian and French schools of the XVII and XVIII centuries.

Orientador: Mauricius Martins Farina
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho teve por objetivo perscrutar o discurso poético de Manoel da Costa Ataíde presente na sua pintura em perspectiva realizada no forro da nave da Igreja de São Francisco de Assis em Ouro Preto, no provável período compreendido pelos anos de 1801 e 1812. Considerando os questionamentos de ordem epistemológica acerca da investigação crítica de uma obra de arte apresentados pelos Estudos Visuais, a referida obra foi focada como portadora de um discurso de natureza poética realizado por um artista através de uma pintura. Na abordagem da obra e do discurso por ela portado, foi considerada a essencial relação entre arquitetura e pintura inerente ao que de modo geral é chamado de pintura em perspectiva. Também foram considerados dados relativos ao autor da mesma, cuja naturalidade é de Mariana, Minas Gerais, e dados relativos ao contexto no qual ela se deu. Quanto ao contexto, ele foi interpretado a partir daquilo que possuía de imediato e de particular em relação aos contextos com os quais teve importantes relações, sendo que, foi chamado de mineiro tanto se diferenciando quanto se aproximando dos demais contextos do Brasil colonial, contemporâneos ou anteriores a ele, assim como se diferenciando e se aproximando de determinados contextos europeus devidamente destacados e justificados, dentre eles principalmente o português, o italiano e o francês. Dentre os contextos coloniais brasileiros foi importante distinguir o contexto que também se deu em Minas Gerais, e se deu principalmente do começo do século XVIII até a Inconfidência Mineira, do contexto no qual a própria obra se deu, o qual data do início do século XIX. Foram aproximadas a essa obra de Ataíde inúmeras outras obras de diversos artistas, mas, preferencialmente, além das demais obras do próprio artista marianense em questão, obras de artistas realizadas em contextos que possuíram alguma relação com o contexto mineiro e, sempre que possível, obras que puderam ser conhecidas pessoalmente pelo autor deste trabalho. Portanto, foram realizadas algumas viagens para possibilitar o contato pessoal com obras, por vezes, bastante específicas e que são encontradas em diferentes locais do sul do continente europeu. Como resultado deste trabalho foram elaboradas proposições acerca do discurso poético perscrutado, as quais, invariavelmente, revelaram uma grande sinceridade presente em tal discurso e que, ao mesmo tempo, confirmaram a potência genuína das diversas manifestações artísticas que, como um todo, ocorreram em Minas Gerais entre meados do século XVIII e início do século XIX, potência esta em cuja qual a contribuição de Manoel da Costa Ataíde é inestimável
Abstract: This study aimed to peer into the poetic discourse of Manoel da Costa Ataide present on his perspective painting held in the lining of the nave of the Church of St. Francis of Assisi in Ouro Preto, in the probable period comprehended by the years of 1801 and 1812. Considering the questions of epistemological order about the critique investigation of a work of art presented by Visual Studies, the referred work was focused as having a speech of poetic nature performed by an artist through a painting. In the approach of the work and of the discourse ported by it, was considered the essential relationship between architecture and painting inherent in what is generally called perspective painting. Were also considered data relating to the author of the same, whose naturalness is from Mariana, Minas Gerais, and data relating to the context in which it occurred. Regarding the context, it was interpreted from what it had of immediate and of particular in relation to the contexts with which had important relationships, whereas, was called of mineiro both differentiating and approaching of other contexts of colonial Brazil, contemporary or previous of it, as well as differentiating and approaching to certain European contexts properly highlighted and justified, including mainly the Portuguese, the Italian and the French. Among the Brazilian colonial contexts was important to distinguish the context that also took place in Minas Gerais, and took place mainly from the early eighteenth century until the Minas Conspiracy, of the context in which the work itself was given, which dates from the early nineteenth century. Were approached to this work of Ataíde numerous other works of many artists, but, preferably, in addition to other works by himself the artist of Mariana in question, works of artists performed in contexts that possessed some relationship with the mineiro context and, whenever possible, works that could be known by the author of this work. Therefore, there were realized a few trips to allow personal contact with works, sometimes, quite specifics and that are found in different locations of the south of the European continent. As the result of this work were prepared propositions about the poetic speech peered, which ones, invariably, showed a large sincerity present in such speech and which, at the same time, confirmed the genuine potency of the many artistic expressions that, as a whole, occurred in Minas Gerais between the mid-eighteenth century and the early nineteenth century, potency that in which the contribution of Manoel da Costa Ataide is invaluable
Mestrado
Artes Visuais
Mestre em Artes Visuais

A tese Percursos poéticos encontra-se dividida em dois Volumes: Em 4 estudos, as obras e os discursos de quatro artistas visuais recebem um estudo histórico e iconográfico. Já no livro-ensaio, apresento o trabalho plástico pessoal, principalmente em pintura, realizado durante o período de doutorado. No primeiro Volume, foram dedicados dois ensaios aos artistas Alfredo Volpi e Maria Helena Vieira da Silva, no contexto do modernismo. Tal Volume consta também de entrevistas realizadas com Fabio Miguez e Manuel Caeiro, agora no âmbito da arte contemporânea. Analisando os textos históricos e das entrevistas, é notável como a particularidade dos discursos dos artistas permite uma maior aproximação do contexto original no qual se desenvolveram os seus trabalhos. Desse modo, os depoimentos pessoais e práticas pictóricas dos artistas levam a uma interpretação poética de suas obras, tendo as cidades como espaço processual da arte: seus percursos criativos estabelecem relações com a vivência e com suas viagens, em São Paulo e Lisboa, entre outros lugares mencionados.
This thesis Poetic Paths is divided into two Volumes: 4 studies encompasses a historic and iconographic study of the works and discourse from four visual artists. The accompanying essay-book showcases the individual work in visual arts, especially in painting, I have been producing during the development of my PhD thesis. The first Volume includes two essays, on artists Alfredo Volpi and Maria Helena Vieira da Silva, set within the modernist context. This Volume also includes interviews with Fabio Miguez and Manuel Caeiro, set within the context of contemporary art. By analyzing the historical texts and interviews, a notable specificity of the artists\' discourses emerges and allows for greater approximation to the original context in which their work was produced. Therefore, the interplay between personal testimonials and the pictorial practices of these artists affords a poetic interpretation of their work, with the city as their procedural space, as their creative paths relates to their experiences and travels, either in Sao Paulo or Lisbon, among other places.

The thesis is divided into three sections. The first section discusses the manuscript Marcianus graecus 524, the second looks at the Greek text of the dedicatory epigrams on works of art from the same manuscript, and the third puts these texts in their context. In the first part, the compilation of the manuscript is analysed. I suggest that the manuscript was copied mainly by one individual scribe living in Constantinople at the end of the thirteenth century. He copied the quires individually, but at some point he put all these quires together, added new quires, and compiled an anthology of poetry. The scribe’s connection to the Planudean School and the Petra monastery in Constantinople is discussed. Although their relationship remains inconclusive, the manuscript provides evidence regarding the literary interests of late-thirteenth-century intellectuals. The second part contains thirty-five unpublished dedicatory epigrams on works of art. New readings are offered for the text of previously published epigrams. The third section analyses the dedicatory epigrams on works of art in their context. The first chapter of this section discusses the epigrams as Gebrauchstexte, i.e. texts with a practical use. The difference between epigrams intended to be inscribed and epigrams intended to be performed is highlighted. In the next chapter of this part, La poésie de l’objet, the composition of the dedicatory epigrams is discussed. The conventional character of the epigrams suggests that the poetics express the ritual aspect of the epigram. The last chapter considers the texts from a more pragmatic angle. After a short discussion of the objects on which the epigrams were written, the mechanisms of the twelfth-century art market are presented based on evidence taken mainly from the epigrams. At the end of this part, conclusions are drawn on the understanding of these texts in the twelfth century.

Préoccupés par la conservation de leurs collections de peintures, les amateurs d’art parisiens font appel, entre 1789 et 1870, aux restaurateurs de tableaux, ces derniers relevant d’une profession qui, à la même époque, se définit indépendamment de celles du marchand, de l’expert ou même du peintre. Si le restaurateur intervient sur les œuvres du particulier, il joue, par ailleurs, pour l’amateur, un rôle de guide dans sa connaissance, voire dans son apprentissage, des procédés picturaux. Progressivement, cette prise en compte de la matérialité de l’œuvre contribue à intégrer le collectionneur au sein des commissions muséales en tant que conseiller, avant qu’il n’acquière un statut privilégié au musée à partir des années 1860 par le legs de ses œuvres
Concerned about the conservation of their art collections, in the years between 1789 and 1870, Parisian amateurs called upon the services of painting restorers, who, at that time, belonged to a profession considered quite separate from that of art dealer, expert or even painter. While the restorer worked on paintings belonging to private collectors, he also acted as a guide for the latter, broadening their knowledge of Ŕ or even teaching them about Ŕ pictorial techniques. This understanding of the materiality of artworks gradually contributed to collectors being invited into museum committees as advisors, before they acquired a privileged status in museums, from the 1860s onwards, by bequeathing their collections

Thesis (Ph. D.)--Stanford University, 2001.
Includes abstract. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 479-492).

Masters Research - Masters of Philosophy (MPhil)
Direct oil painting methodologies are simple in their application and optical effects compared to indirect layering systems, particularly the procedures developed during the Renaissance. Today, modern painting mediums alter oil paint’s flow and drying characteristics by using ingredients which are unnecessarily complex and mainly based on solvent usage; creating a health-hazardous environment. However, when a selection of some natural materials are combined, tested and amalgamated with ancient and modern painting processes direct painting methodologies are invested with a wider range of optical interplay. Thus by paying closer attention to the relationship between the artist’s tools and substances, modern and traditional painting systems are deepened and expanded. The outcome is that the relationship between the artist’s pictorial intentions and the means to achieve them are synchronised. Therefore, this research found, through an active professional painting practice, that there exists a highly symbiotic, richer, and more fluid relationship between ideas and materials, when using a direct oil painting methodology which fouses on its physical means of expression.

Dissertação de Mestrado em Arte e Património apresentada à Faculdade de Letras
Esta dissertação propõe-se a estudar a pintura de história praticada por artistas portugueses em Oitocentos. Embora a investigação historiográfica tenha já considerado a pintura de história portuguesa e alguns pintores de história portugueses, nenhuma dissertação académica visou, até agora, compreender a pintura de história integralmente no século XIX. Através da análise de uma seleção de pinturas de história, esta dissertação aplicou uma abordagem estilística, iconográfica e histórica com o objetivo de explanar tanto as singularidades da pintura de história portuguesa quanto as suas relações com este género na escala europeia. É exposto, primeiramente, o panorama francês e europeu onde se debate a história deste género, a versatilidade da pintura de história oitocentista e as atuais tentativas, por parte de alguns historiadores da arte, de reabilitação e reapreciação deste género. Doravante, a dissertação foca-se nos pintores e artistas portugueses de finais de Setecentos, Oitocentos e início de Novecentos, destacando, entretanto, as especificidades e transformações da pintura de história portuguesa. Subsequentemente, aposta-se numa análise iconográfica das representações de duas personagens da pintura narrativa portuguesa, muito associadas a este género: o soberano e o herói. Esta dissertação sustenta que a pintura de história portuguesa, dos inícios de Oitocentos até aos anos 1920 e além, era versátil, acompanhava as novas ideias e temas europeus, merecendo, como consequência, uma investigação e reavaliação mais amplas.
The principal purpose of this dissertation is to study history painting as practiced by Portuguese artists in the 1800s. Although some historiographical research has already considered Portuguese history painting and Portuguese history painters of the 1800s, no comprehensive attempt has previously been made to understand 19th century history painting in its entirety. In analyzing a selected group of history paintings, this thesis employed a stylistic, iconographic, and historical approach with the purpose to understand both the singularities of Portuguese history painting and its relations with this genre on a European scale. Firstly, we expound the French and European panoramas wherein we trace the history of the genre, discuss the versatility of history paintings in the 1800s and the current endeavours of some art historians to restore and reappreciate history painting. Henceforth, our thesis focuses on Portuguese painters and artists of the late 1700s, 1800s and early 1900s, highlighting, in the process, the specificities and transformations of Portuguese history painting. Subsequently, we resort to an iconographic analysis and probe into depictions of two characters of Portuguese narrative painting much associated with this genre: rulers and heroes. This thesis propounds that Portuguese history painting, from the early 1800s to the 1920s and beyond, was versatile, kept up with the new European ideas and themes and is, therefore, worthy of further research and reassessment.