Cardeira A M, Longelin S, Costa S, Candeias A, Carvalho M L, Manso M
Faculdade de Belas-Artes da Universidade de Lisboa, Largo da Academia Nacional de Belas-Artes, 1249-058 Lisboa, Portugal; Laboratório de Instrumentação, Engenharia Biomédica e Física da Radiação (LIBPhys-UNL), Departamento de Física, Faculdade de Ciências e Tecnologia, Universidade Nova de Lisboa, 2829-516 Monte da Caparica, Portugal.
Laboratório de Instrumentação, Engenharia Biomédica e Física da Radiação (LIBPhys-UNL), Departamento de Física, Faculdade de Ciências e Tecnologia, Universidade Nova de Lisboa, 2829-516 Monte da Caparica, Portugal.
Spectrochim Acta A Mol Biomol Spectrosc. 2016 Jan 15;153:379-85. doi: 10.1016/j.saa.2015.08.043. Epub 2015 Sep 3.
This case study illustrates the analytical characterization of 12 academic nude paintings by Veloso Salgado, made between 1883 and 1893. The study was done with in situ methods (infrared reflectography and EDXRF) and benchtop equipment (Raman and FTIR microscopes and SEM-EDS). Infrared reflectography revealed underdrawings, painting style, execution method and retouched/restored areas. Analytical techniques allowed the identification of gypsum, lead white, barium white, zinc white, yellow ochre, chrome yellow, zinc yellow, vermilion, synthetic ultramarine blue, cerulean blue, Prussian blue, viridian, green earth, Paris green, red ochre, raw umber and lamp black. These results provide valuable information on Salgado's palette and his artistic production technique and allow the distinction between palettes used in Lisbon and Paris and consequently, technical interchanges between both Academies. Finally, this study intends to start a systematic analytical study of the Faculty of Fine Arts' collection, allowing the characterization of many other authors and their influences for the development of painting methodology in this Academy.
本案例研究展示了对维洛索·萨尔加多在1883年至1893年间创作的12幅学术裸体画作的分析特征。该研究采用了现场方法（红外反射成像和能量色散X射线荧光光谱法）和台式设备（拉曼显微镜、傅里叶变换红外显微镜和扫描电子显微镜-能谱仪）。红外反射成像揭示了底稿、绘画风格、绘制方法以及修补/修复区域。分析技术能够识别石膏、铅白、钡白、锌白、赭石黄、铬黄、锌黄、朱砂、合成群青蓝、天蓝、普鲁士蓝、翠绿、绿土、巴黎绿、红赭石、生赭石和灯黑。这些结果为萨尔加多的调色板及其艺术创作技巧提供了有价值的信息，并有助于区分在里斯本和巴黎使用的调色板，从而了解两个学院之间的技术交流。最后，本研究旨在启动对美术学院藏品的系统分析研究，以便对许多其他作者进行特征描述，并了解他们对该学院绘画方法发展的影响。
