Search results for "pintura."
showing 10 items of 299 documents
El "Santo Tomás" de Velázquez del Museo Diocesano de Orihuela
1990
SE DOCUMENTA POR PRIMERA VEZ LA LLEGADA DE LA PINTURA DE "SANTO TOMAS", ATRIBUIDA A VELAZQUEZ, AL COLEGIO DE SANTO DOMINGO DE ORIHUELA (ALICANTE). GRACIAS A LOS DOCUMENTOS EN LOS QUE SE FECHA EL PAGO DEL BASTIDOR Y LA COLOCACION DEL LIENZO EN 1633, SE DESTACA LA FINALIZACION DE LA PINTURA. EN ESTA CRONOLOGIA SE INVESTIGA LA RELACION ENTRE EL COLEGIO Y LA CASA REAL, SIENDO LA OBRA REGALO DEL DOMINICO ANTONIO DE SOTOMAYOR, CONFESOR DEL REY, NOMBRADO PROTECTOR DEL COLEGIO EN 1631. ADEMAS, SE ANALIZA LA PINTURA Y SU HISTORIA DESDE SU LLEGADA AL COLEGIO HASTA LA ACTUALIDAD. (A.B.C./ L.A.G.)
La ricostruzione tridimensionale e il restauro virtuale di una tomba etrusca dipinta dell’Etruria meridionale interna: la “Grotta Dipinta” di Pranzov…
2015
[EN] The paper concerns the 3D reconstruction and virtual restoration of a painted rock-cut chamber tombs located in the interior of Southern Etruria (Viterbo Province, Central Italy). The tomb was discovered in 1901 in a place named Pranzovico and it dates from the mid-fifth century BC; it has a cross plan with central atrium (decorated with paintings) and three chambers in which there are the rock-cut funerary beds. The paintings have been largely destroyed by illegal excavators in the days immediately following the discovery; during the 20th century it was damaged due to agricultural works in the surroundings and now it is partially filled up. Its 3D reconstruction is based on the scarce…
El retablo para la Virgen de Gracia de Paolo de San Leocadio en la parroquia de San Miguel de Enguera, obra de Andreu Artich (1625)
2022
En 1625 el conde de Anna, el ermitaño Carlos de Borja y el carpintero Andreu Artich acordaron la obra del retablo para la Virgen de Gracia de Enguera (València). Perdido durante la Guerra Civil, se propone su reconstrucción virtual a partir de la información proporcionada en estas capitulaciones.
La pintura de flores de Miguel Parra (1780-1846)
2013
Although Miguel Parra Abril (Valencia, 1780-Madrid, 1846) is one of the most important Valencian School painters of floral still lifes, this aspect of his work remains little known. The present article addresses this oversight in two ways. First, by offering an overview of his oeuvre as a painter of floral subjects from his student days at the Fine Arts Academy of Valencia through his mature works. Second, by analyzing two heretofore-unpublished floral compositions in relation to his more familiar works, particularly those located in private collections until recent years.Aunque Miguel Parra Abril (Valencia, 1780-Madrid, 1846) es uno de los pintores de flores más importantes de la Escuela v…
Dos nuevas obras de Joan Reixach en Francia
2023
Joan Reixach es uno de los artistas más importantes y representativos de la pintura española del siglo XV. Por ello, el descubrimiento de una de sus obras siempre es excepcional, aún más cuando permite reconsiderar la atribución de otras tablas ya conocidos. Esto es lo que nos proponemos hacer en el presente artículo a través del estudio del San Bernardo del Musée Marmottan de París y de un San Pablo conservado en una colección privada.
Recensiones (coord. José Martín Martínez y Felipe Jerez Moliner)
2022
Recensiones
On-line database of voltammetric data of immobilized particles for identifying pigments and minerals in archaeometry, conservation and restoration (E…
2016
[EN] A web-based database of voltammograms is presented for characterizing artists' pigments and corrosion products of ceramic, stone and metal objects by means of the voltammetry of immobilized particles methodology. Description of the website and the database is provided. Voltammograms are, in most cases, accompanied by scanning electron microphotographs, X-ray spectra, infrared spectra acquired in attenuated total reflectance Fourier transform infrared spectroscopy mode (ATR-FTIR) and diffuse reflectance spectra in the UV-Vis-region. For illustrating the usefulness of the database two case studies involving identification of pigments and a case study describing deterioration of an archae…
Characterization of prehispanic cosmetics found in a burial of the ancient city of Teotihuacan (Mexico)
2012
The present paper reports the chemical data obtained on samples of pigmenting materials contained in 31 miniature vessels found in a burial found in Teopancazco, a multiethnic neighborhood center located in the southeastern sector of the archaeological site of Teotihuacan (Central Mexico) and the analytical protocol established for the complete characterization of these archaeological materials. For this purpose a multi-technique approach based on the combination of several non destructive and micro-destructive instrumental techniques, namely, light microscopy (LM), scanning electron microscopy-X-ray micro-analysis (SEMe EDX), transmission electron microscopy (TEM), voltammetry of micropart…
FIB-FESEM and EMPA results on Antoninianus silver coins for manufacturing and corrosion processes
2018
[EN] A set of ancient Antoninianus silver coins, dating back between 249 and 274¿A.D. and minted in Rome, Galliae, Orient and Ticinum, have been characterized. We use, for the first time, a combination of nano-invasive (focused ion beam-field emission scanning electron microscopy-X-ray microanalysis (FIB-FESEM-EDX), voltammetry of microparticles (VIMP)) and destructive techniques (scanning electron microscopy (SEM-EDX) and electron microprobe analysis (EMPA)) along with non-invasive, i.e., micro-Raman spectroscopy. The results revealed that, contrary to the extended belief, a complex Ag-Cu-Pb-Sn alloy was used. The use of alloys was common in the flourishing years of the Roman Empire. In th…
“Aquel mágico efecto”. Matías Laviña y las vidrieras de la catedral de León
2023
Las vidrieras del siglo XIX son un fiel reflejo de la mentalidad y los gustos de un momento de profundos cambios en Europa que propició la recuperación de un arte casi olvidado. España tardó en sumarse a esta dinámica y los inicios de la restauración de la catedral de León constituyen un elocuente testimonio de las limitaciones que había a este respecto. Las propuestas de su restaurador, Matías Laviña, denotan su interés hacia este arte y su preferencia por una vidriera de carácter pictórico cuya perfección pensaba lograr interviniendo, a modo de banco de pruebas, en las obras conservadas.