Sanches 2016
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lucasltcarvalhoSanches 2016
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é ladeado por um barranco coberto de uma vegetação luxuriante e espessa, incluindo
uma piteira e um sobreiro, cujo alto perfil se destaca contra o céu azul fundeiro. À
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Um dos primeiros retratos de grupo da pintura portuguesa (mais tarde retomado por
Columbano em "O Grupo do Leão" de 1885) que combina paisagem com a pintura de
género. No primeiro plano à esquerda, rochas encobertas pela sombra. No plano
seguinte, soalheiro, um grupo de camponeses trajando à saloia em tons de castanho e
verde com vermelho e o branco a destacar alguns elementos (a mulher com uma saia,
corpete e lenço na cabeça, carrega um cesto coberto por um pano branco; o homem, de
calças, botas altas, colete e barrete na cabeça tem a pender no ombro direito uma
manta; as crianças vestem calções ou saias, casacos e chapéu, lenço ou barrete)
ladeiam dois dos artistas. Ao centro da composição Anunciação, sentado com a perna
esquerda adiantada segurando a caixa das tintas, erguendo com a mão direita o pincel e
com a mão esquerda segurando a paleta e o tento. O corpo está ligeiramente inclinado
para a esquerda e o rosto para a direita; por trás, Metrass, de pé, envergando uma capa
e um chapéu à Rubens pretos. O rosto tem barba e bigode encoberto até ao nariz pela
sombra; o olhar fixa o espectador. Em terceiro plano, um enorme rochedo, com algumas
plantas no topo serve de apoio ao escultor Vitor Bastos que veste calças e casaco
comprido em preto, tem na cabeça um chapéu e assume uma atitude jocosa, com a mão
direita colocada na anca; o próprio Cristino da Silva, num auto-retrato iluminado e
vestindo de castanho, desenhando num pequeno caderno e José Rodrigues, com uma
capa castanha, sentado numa pedra - na qual se reflete a sua sombra cuja luz contraria
a incidente na tela - à direita destes dois e folheando um álbum. Ao fundo, à esquerda, o
palácio da Pena, esboçada, sobre uma imaginária montanha de pedra, e o céu,
tempestuoso e cinzento à esquerda, mais nubloso e azul à direita. Homenagem ao
Mestre Anunciação, esta obra depressa foi considerada a mais representativa do
romantismo português, celebrando o Palácio da Pena na romântica Sintra, a paisagem
recolhida do "natural", os costumes, e o retrato 17.
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cima, que juntamente com a sombra em primeiro plano forma um óculo, Cristino
introduz-nos numa paisagem pitoresca e soalheira, uma vista da Lisboa antiga, pré-
industrial, a partir dos terrenos de uma Campolide rural, vendo-se no centro o vale onde
vinte anos mais tarde iria ser rasgada a Avenida da Liberdade, e no fundo as duas
colinas do castelo de S. Jorge e da Graça. A cena é animada por alguns camponeses,
saloios da região, entre os quais se distingue uma mulher, em primeiro plano, montada
de costas num burro com largos alforges, todos eles acompanhados dos seus bois e
jumentos, dirigindo-se para a cidade através do caminho ensolarado no centro da
composição. Cruzam-se com um homem montado a cavalo, de chapéu e capa vermelha
traçada pelos ombros, que se vira e observa a saloia em primeiro plano, uma figura que
Maria de Aires Silveira identifica como sendo o pintor Francisco Metrass (cf. SILVEIRA,
2000, p. 38), grande amigo de Cristino que se identificava igualmente com o seu ideário
romântico, retrato que Cristino preparara num estudo a lápis do amigo pintor montado
em idêntica posição (Ibidem, p. 135). Depois dos "Cinco artistas em Sintra" (1855),
Cristino parece mais uma vez reunir nesta pintura os géneros da paisagem, costumes e
retrato, numa abordagem que se relaciona com outra tela da coleção do museu, a mais
naturalista "Vista da Penha de França" (1857, nº inv. 509) de Tomás da Anunciação,
outro dos "Cinco artistas Sintra", prova de concurso para professor efectivo da Academia
Real de Belas Artes em 1858, que provavelmente o discutiu com Cristino antes deste
realizar o quadro, um ano depois 1 8 .
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Cristino, uma ribanceira abrupta com terra seca e alaranjada é coberta por alguma
vegetação nas extremidades e por piteiras num banco da ravina. O lado esquerdo da
tela é encoberto pela sombra de uma mancha diáfana de nuvens em tons de cinzento e
azul que cobre também a terra e as plantas. O sol bate violentamente na ravina em
primeiro plano, e faz destacar um campino a cavalo, conduzindo uma manada de touros.
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composição se impõe. Expressão exuberante de coloridos e contrastes tonais, esta obra
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Cinco Artistas em Sintra
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&$63UHSDFDPDGD &DUERQDWRGHFiOFLR EUDQFRGHFKXPERFDUER[LODWRV QD
&$63UHSXOWLPDFDPDGD %UDQFRGHFKXPERFDUER[LODWRV QD
&$6YHULILFDoDRGHLPSULPLWXUD %UDQFRGHFKXPERFDUER[LODWRVDPDUHORGHFUyPLR QD
XQLDRSHQHGRFHX
&$6YHUQL]DPDUHORRULJLQDO /DFD *RHWKLWHTXDUW]R
236
&$6YHUQL]DPDUHOR 5HVLQDWHUSpQLFD yOHR +HPDWLWHEUDQFRGHFKXPER
.
Cinco Artistas em Sintra
$PRVWUD 0LFURIRWRJUDILD )7,5 5DPDQ
&$6YHUGH &REUHB;5) 6DEmRGHFREUH 6DEmRGHFREUH
&$6YHUGHFODUR &DXOLQRVDEmRGHFREUH ROHDWR" y[LGRGHIHUUR 6DEmRGHFREUHKHPDWLWH
DPDUHOR JRHWKLWH
&$6 YHUGHHVFXURYHODWXUD;5) 6DEmRGHFREUH9HUGLJULV 6DEmRGHFREUH
SRQWRVGHDQDOLVH)7,5
237
&$6YHUGHHVFXUR 6DEmRGHFREUH 6DEmRGHFREUH
SRQWRVGHDQDOLVH)7,5
&$6YHUGHFODURHVFXUR 9HUGHHVPHUDOGDD]XOXOWUDPDULQR6XOIDWRGHEiULR +HPDWLWHJRHWKLWH6XOIDWRGH
SRQWRVGHDQDOLVH)7,5 EiULR
.
Cinco Artistas em Sintra
$PRVWUD 0LFURIRWRJUDILD )7,5 5DPDQ
&$6YHUGHOLYUR &DXOLQRTXDUW]Ry[LGRGHIHUUR DPDUHORYHUGH 9HUGHHVPHUDOGD
HVPHUDOGDVDEmRGHFREUH
&$6YHUGHFODUR %UDQFRGHFKXPERFDUER[LODWRGHFKXPER y[LGRGH %UDQFRGHFKXPERJRHWKLWH
IHUUR DPDUHOR KHPDWLWHQHJURGHFDUERQR
&$6YHUGH 9HUGLJULVVDEmRGHFREUH 6DEmRGHFREUH
238
&$6ODUDQMDFDVDFR;5)D *HVVRVXOIDWRGHEiULRTXDUW]RFDUERQDWRGHFiOFLR QD
FG R[DODWRy[LGRGHIHUUR DPDUHORYHUPHOKR
&$6ODUDQMDSUHJDVDLD *HVVR3KRHQLFRFKURLWHy[LGRGHIHUUR YHUPHOKR $PDUHORGHFUyPLR
3KRHQLFRFKURLWH6XOIDWRGHEiULR
.
Cinco Artistas em Sintra
$PRVWUD 0LFURIRWRJUDILD )7,5 5DPDQ
&$6DPDUHOR &DXOLQRVDEmRGHFREUHy[LGRGHIHUUR DPDUHOR $PDUHORGHFUyPLR6XOIDWRGH
6XOIDWRGHEiULR$PDUHORGHFUyPLR EiULRJRHWKLWHKHPDWLWHD]XO
XOWUDPDULQR
&$6EUDQFRDPDUHOR$QXQFLDomR *HVVR6XOIDWRGHEiULR%UDQFRGHFKXPER %UDQFRGHFKXPER*HVVR
DQLGULWH6XOIDWRGHEiULR
&$6DPDUHORIROKD *HVVR6XOIDWRGHEiULRy[LGRGHIHUUR $PDUHORGHFUyPLR6XOIDWRGH
EiULRJHVVRKHPDWLWH
239
&$6DPDUHORODSHOD $PDUHORGHFUyPLR6XOIDWRGHEiULR $PDUHORGHFUyPLR6XOIDWRGH
EiULRJHVVR
&$6ODUDQMDODSHOD *HVVR SKRHQLFRFKURLWHR[DODWR $PDUHORGHFUyPLR
.
Cinco Artistas em Sintra
$PRVWUD 0LFURIRWRJUDILD )7,5 5DPDQ
&$6ODUDQMDUHPDWHVDLD WHUUDGH&DFHODy[LGRGHIHUURDPDUHOR 9HUPHOKmR
&$6FDVWDQKRYHUPHOKR &DXOLQREUDQFRGHFKXPEROHDGFDUER[LODWRGH +HPDWLWHEUDQFRGHFKXPER
FKXPERy[LGRGHIHUURDPDUHORy[LGRGHIHUUR
&$6FDVWDQKRHVFXUR &DXOLQRTXDUW]Ry[LGRGHIHUUR DPDUHORQHJURGH KHPDWLWH1HJURGHFDUERQRD]XO
FDUERQR XOWUDPDULQRYHUPHOKmR6XOIDWR
240
GHEiULR
&$6FDVWDQKR Ï[LGRGHIHUUR DPDUHORQHJURGHFDUERQR +HPDWLWHJRHWKLWH
&$6FDVWDQKRHVFFDEHORYHOKR 2[DODWRODFD KHPDWLWH
.
Cinco Artistas em Sintra
$PRVWUD 0LFURIRWRJUDILD )7,5 5DPDQ
&$6SDUWtFXODD]XOFpX $]XO XOWUDPDULQR QD
&$6D]XOULVFDVDLD $]XOXOWUDPDULQREUDQFRGHFKXPER $]XOXOWUDPDULQR
SRQWRVGHDQDOLVH)7,5
&$6 D]XOFRUSHWH $]XOXOWUDPDULQRXPEULDTXHLPDGD $]XOXOWUDPDULQR
241
&$6ODFDYLROHWDDFG /DFD QD
&$6 FDPLVDFULDQoDODFDYLROHWD /DFD QD
&$6QHJURFDOoDVDFG %UDQFRGHFKXPERWHUUDGH6LHQD *HVVR
.
Passagem do Gado
$PRVWUD 0LFURIRWRJUDILD )7,5 5DPDQ
3*YHUQL]DPDUHORVXSHUItFLH 5HVLQDWHUSpQLFDyOHR QD
3*DPDUHORYHUQL]VXSHUItFLH 5HVLQDWHUSpQLFD yOHRYHUQL]GHUHVWDXUR SROL QD
FLFORKH[DQRQD
3*YHUQL]DPDUHORVXSHUItFLH 5HVLQDWHUSpQLFD yOHRILEUDOLQKR QD
242
3*YHUQL]DPDUHORVXSHUItFLH 5HVLQDWHUSpQLFD 9HUQL]GHUHVWDXUR SROL QD
FLFORKH[DQRQD yOHRR[DODWRy[LGRGHIHUUR
3*YHUQL]DPDUHOR SXUR ÏOHRHQYHOKHFLGR UHVLQDWHUSpQLFD QD
.
Passagem do Gado
$PRVWUD 0LFURIRWRJUDILD )7,5 5DPDQ
3*3UHSDUDomR &DUERQDWRGHFiOFLR%UDQFRGHFKXPER QD
3*YHUGHFODUR $]XOGD3U~VVLDUHVLQDWHUSpQLFD yOHR 9HUPHOKmR&QHJURD]XO
XOWUDPDULQRDPDUHORGHFUyPLR
$]XOGD3U~VVLD
3*FDVWDQKRFODURDEDL[RGR %UDQFRGHFKXPER&DUER[LODWRGHFKXPER 9HUPHOKmR1HJURGHFDUERQR
YHUGH y[LGRGHIHUUR DPDUHOR DPDUHORGHFUyPLR B3E
SWRVGHDQiOLVH)7,5 VXOSKDWH"KHPDWLWHJRHWKLWH
EUDQFRGHFKXPER
243
3* YHUGHFODUR $]XOGD3U~VVLDEUDQFRGHFKXPERFDUER[LODWRGH $PDUHORGHFUyPLRD]XOGD
FKXPERWHUUDGH6LHQD 3U~VVLD
3* YHUGH $]XOGD3U~VVLDVXOIDWRGHEiULRDPDUHORGHFUyPLR $PDUHORGHFUyPLRD]XOGD
UHVLQDWHUSpQLFD yOHR 3U~VVLDKHPDWLWH
3*YHUGHD]XO $]XOGD3U~VVLDUHVLQDWHUSpQLFD yOHR $]XOGD3U~VVLDD]XOXOWUDPDULQR
.
Passagem do Gado
$PRVWUD 0LFURIRWRJUDILD )7,5 5DPDQ
3*D]XOFODURFpX %UDQFRGHFKXPERFDUER[LODWRGHFKXPER %UDQFRGHFKXPERFREDOWRD]XO
3*YHOD]XOYHUGH 5HVLQDWHUSpQLFD yOHR D]XOGD3U~VVLD 9HUPHOKmRD]XOXOWUDPDULQR
3*FDVWDQKRHVFD]XO ÒPEULDFiOFLRR[DODWRD]XOXOWUDPDULQR $]XOXOWUDPDULQRDPDUHORGH
FUyPLRQHJURGHFDUYmR
244
3*DPDUHOR %UDQFRGHFKXPERJHVVRUHVLQDWHUSpQLFD yOHR $PDUHORGHFUyPLRJRHWKLWH
y[LGRGHIHUUR DPDUHORDPDUHORGHFUyPLR %UDQFRGHFKXPER
.
Vista de Lisboa tirada de Entremuros
$PRVWUD 0LFURIRWRJUDILD )7,5 5DPDQ
9/YHUQL]DPDUHORVXSHUItFLH 5HVLQDWHUSpQLFD yOHRVDEmRGHFREUH QD
9/YHUQL]DPDUHOR 5HVLQDWHUSpQLFD yOHRR[DODWRJHVVRy[LGRGHIHUUR QD
DPDUHOR
9/YHUQL]DPDUHOR 5HVLQDWHUSpQLFD yOHR 7HUUDGH&DFHOD QD
245
.
Vista de Lisboa tirada de Entremuros
$PRVWUD 0LFURIRWRJUDILD )7,5 5DPDQ
9/3UHSFDPDGDLQIHULRU &DUERQDWRGHFiOFLR6XOIDWRGHEiULR%UDQFRGH QD
FKXPER
9/3UHSFDPDGDVXSHUItFLHHULRU %UDQFRGHFKXPER&DUERQDWRGHFiOFLR QD
9/D]XOIORU $]XOXOWUDPDULQR~PEULD QD
9/D]XOOHQoR $]XOXOWUDPDULQRWHUUDGH&DFHOD $]XOXOWUDPDULQRKHPDWLWH
246
9/D]XOSXQKRWURYDGRU $]XOXOWUDPDULQR $]XOXOWUDPDULQR
.
Vista de Lisboa tirada de Entremuros
$PRVWUD 0LFURIRWRJUDILD )7,5 5DPDQ
9/YHUGHYHUPHOKR *HVVRVDEmRGHFREUHy[LGRGHIHUUR YHUPHOKRyOHR +HPDWLWHD]XOXOWUDPDULQR
DPDUHORGHFUyPLR
9/YHUGHYHUQL] FDVWDQKRYHUP 6DEmRGHFREUH ROHDWR" 6DEmRGHFREUH
9/YHUGHDFG 9HUGLJULV yOHR $PDUHORGHFUyPLR
247
9/YHUGHD FG 6DEmRGHFREUH QD
.
Vista de Lisboa tirada de Entremuros
$PRVWUD 0LFURIRWRJUDILD )7,5 5DPDQ
9/YHUGHJDUUDID 9HUGLJULVVDEmRGHFREUH 9HUGLJULV
9/YHUGHWUDQVOXFLGR QD 6DEmRGHFREUH
248
9/DPDUHORDFG &DUERQDWRGHFiOFLR$PDUHORGHFUyPLR +HPDWLWHDPDUHORGHFUyPLR
&DUERQDWRGHFiOFLR
9/DPDUHORFULQDGREXUUR &DUERQDWRGHFiOFLR6XOIDWRGHEiULR$PDUHORGH $PDUHORGHFUyPLR&DUERQDWRGH
FUyPLR FiOFLR
9/DPDUHORIROKDV $PDUHORGHFUyPLR&DUERQDWRGHFiOFLRy[LGRGH $PDUHORGHFUyPLR
IHUUR 6LHQD
.
Vista de Lisboa tirada de Entremuros
$PRVWUD 0LFURIRWRJUDILD )7,5 5DPDQ
9/;5) SWRGHOX]DPDUHOR %UDQFRGHFKXPERDPDUHORGHFUyPLR %UDQFRGHFKXPERDPDUHORGH
FUyPLR
9/DPDUHORGHFUyPLR $PDUHORGHFUyPLR GHHSMDXQHFKURPH &DUERQDWR $PDUHORGHFUyPLR&DUERQDWRGH
GHFiOFLR FiOFLR
9/;5)DPDUHORODUDQMD &DXOLQRTXDUW]Ry[LGRGHIHUUR DPDUHOR $PDUHORGHFUyPLREUDQFRGH
FKXPERKHPDWLWHTXDUW]R
249
9/ODUDQMD EUDQFRGHFKXPERFDUER[LODWRGHFKXPER 9HUPHOKmRDPDUHORGHFUyPLR
y[LGRGHIHUUR DPDUHOR JHVVRKHPDWLWH%UDQFRGH
FKXPER
9/ODUDQMD *HVVRDPDUHORGHFUyPLR $PDUHORGHFUyPLR&DUERQDWRGH
FiOFLR
9/ODUDQMD QD $PDUHORGHFUyPLR JHVVR
FDUERQDWRGHFiOFLR
.
Vista de Lisboa tirada de Entremuros
$PRVWUD 0LFURIRWRJUDILD )7,5 5DPDQ
9/DPDUHOR QD $PDUHORGHFUyPLRJRHWKLWH
;UI %UDQFRGHFKXPER6XOIDWRGH
EiULR
9/YHUPHOKRFDVWDQKR *HVVRWHUUDGHFDVVHOD +HPDWLWHJHVVR
250
9/BFDVWDQKRPWRHVFFDYDOR 5HVLQDWHUSpQLFD yOHRy[LGRGHIHUUR QD
9/GHDGOD\HUYHODWXUD +HPDWLWHy[LGRGHIHUUR YHUPHOKRWHUUDGH6LHQD +HPDWLWHD]XOXOWUDPDULQR
FDVWDQKRDQKD
9/VHSDUDomRYHUPHOKR 6XEVWUDWRGHODFD +HPDWLWH
.
Vista de Lisboa tirada de Entremuros
$PRVWUD 0LFURIRWRJUDILD )7,5 5DPDQ
9/YHUPHOKR QD 9HUPHOKmRJHVVR
9/;5)YHUPHOKR *HVVRy[LGRGHIHUUR YHUPHOKR +HPDWLWH
9/EUDQFR%D[UI %UDQFRGHFKXPER6XOIDWRGHEiULRFDUER[LODWRGH $PDUHORGHFUyPLR%UDQFRGH
251
FKXPER FKXPER6XOIDWRGHEiULR
9/EUDQFRXOWFDPDGDSUHS %UDQFRGHFKXPER %UDQFRGHFKXPER
;UI
.
Vista de Lisboa tirada de Entremuros
$PRVWUD 0LFURIRWRJUDILD )7,5 5DPDQ
9/ODFDURVD WHUUDGH&DFHODODFD QD
9/YLROHWDWDOYH]ODFD %URZQPDGGHUFDVVHOHDUWKODFD QD
252
Recuar da Onda
$PRVWUD 0LFURIRWRJUDILD )7,5 5DPDQ
52BD 3UHS/DWHUDO &DUERQDWRGHFiOFLR%UDQFRGHFKXPERJHVVR QD
52BD3UHS/DWHUDO %UDQFR GHFKXPER&DUERQDWRGHFiOFLR QD
52B3UHSWUHVSDVVHWHOD %UDQFRGHFKXPER&DUERQDWRGHFiOFLR6XOIDWRGH QD
EiULR
.
Recuar da Onda
$PRVWUD 0LFURIRWRJUDILD )7,5 5DPDQ
52BYHUQL]DPDUHOR 5HVLQDWHUSpQLFD PiVWLTXH" ILEUD QD
52BYHUQL]LQFRORUVXSHUItFLHD 5HVLQDWHUSpQLFD YHUQL]GHUHVWDXUR SROL QD
FG FLFORKH[DQRQD
52BYHUQL]DPDUHORSDUWHFODUD 5HVLQDWHUSpQLFD QD
253
52BYHUQL]VXSHUItFLH 9HUQL]GHUHVWDXUR SROLFLFORKH[DQRQD UHVLQD QD
WHUSpQLFD
52BYHODWXUDFDVWDQKD 5HVLQDWHUSpQLFD yOHR ~PEULD +HPDWLWH
52BYHODWXUDFDVWDQKD UHVLQDWHUSpQLFD yOHRy[LGRGHIHUUR VLHQQD QD
.
Recuar da Onda
$PRVWUD 0LFURIRWRJUDILD )7,5 5DPDQ
52BQXFOHRUHVLQDDPDUHOR 5HVLQDWHUSpQLFD&DUERQDWRGHFiOFLRR[DODWR QD
LQWHQVR
SWRV)7,5
52BYHUQL]DPDUHOR 5HVLQDWHUSpQLFD yOHRFiOFLRR[DODWR QD
52BYHUQL]DPDUHORHD]XO 5HVLQDWHUSpQLFD yOHRy[LGRGHIHUUR QD
D]XOGHFREDOWR
254
52B LQWHULRUFDVWDQKRUHVLQD 5HVLQDWHUSpQLFD yOHR QD
52B;5)YHUQL]VXSHUItFLH 5HVLQDWHUSpQLFD yOHR QD
DPDUHOR
.
Recuar da Onda
$PRVWUD 0LFURIRWRJUDILD )7,5 5DPDQ
52B YHUGHHVFXURFDVWDQKRFODUR $]XOGD3U~VVLDy[LGRGHIHUUR $]XOGD3U~VVLDD]XOXOWUDPDULQR
$PDUHORGHFUyPLRJRHWKLWH
52BYHUGH 5HVLQD WHUSpQLFD yOHR D]XOGD3U~VVLDTXDUW]R $]XOGD3U~VVLDD]XOXOWUDPDULQR
y[LGRGHIHUUR DPDUHORR[DODWR 1HJURGHFDUERQR$PDUHORGH
FUyPLR
52BD]XOYHUGHFLQ]HQWR $]XOXOWUDPDULQREUDQFRGHFKXPERFDUER[LODWRGH 9LULGLDQD]XOXOWUDPDULQRQHJUR
FKXPER&DUERQDWRGHFiOFLRYLULGLDQ GHFDUERQR$PDUHORGHFUyPLR
KHPDWLWH
255
52B;5)YHUGH D]XOXOWUDPDULQRXPEULD $]XOXOWUDPDULQRDPDUHORGH
FUyPLRJRHWKLWH
.
Recuar da Onda
$PRVWUD 0LFURIRWRJUDILD )7,5 5DPDQ
52BYHODWXUDFDVWDQKD %UDQFRGHFKXPERD]XOGD3U~VVLDy[LGRGHIHUUR QD
FDVWDQKR
52BFDVWDQKRFODURURFKD 5HVLQDWHUSpQLFD yOHRTXDUW]RWHUUH6LHQD QD
52BFDVWDQKRFODURDUHLD %UDQFRGHFKXPERFDUER[LODWRV TXDUW]Ry[LGR *HVVRQHJURGHFDUERQR
GHIHUUR DPDUHORXPEULD" JRHWKLWHTXDUW]RYHUPHOKmR
256
52BDPDUHOR 5HVLQDWHUSpQLFD yOHRR[DODWR TXDUW]RXPEULD +HPDWLWH
QDWXUDO
.
Recuar da Onda
$PRVWUD 0LFURIRWRJUDILD )7,5 5DPDQ
52B SUHWRD]XO $]XOGD3U~VVLDVXOIDWR GHEiULRFHUDGHDEHOKD QD
52BYHUGHD]XORULJLQDODEDL[RGH %UDQFRGHFKXPERFDUER[LODWRGHFKXPERD]XO $]XOXOWUDPDULQRYHUPHOKmR
YHUQL]GHUHSLQWH XOWUDPDULQR QHJURGHFDUERQRYLULGLDQ
52BD]XOYHUGH %UDQFRGHFKXPERD]XOXOWUDPDULQRFDUER[LODWR $]XOXOWUDPDULQRJRHWKLWH
257
52BBYHUGHD]XO $]XOXOWUDPDULQR $]XOXOWUDPDULQRDPDUHORGH
FUyPLRJRHWKLWHKHPDWLWHQHJUR
GHFDUERQR
.
.
ŶĞdžŽ/sʹĞƐĐƌŝĕĆŽĚŽƐĐŽƌƚĞƐĞƐƚƌĂƚŝŐƌĄĨŝĐŽƐ
Paisagem e animais, 1851
$PRVWUD 02 /X]YLVtYHO 02 /X]XOWUDYLROHWD (';5) linescan 5DPDQ )7,5
3$ &DPDGDGHSUHSDUDomR ± %UDQFRGHFKXPER $]XOGD3U~VVLDEUDQFRGH
ϱ 3E&D =Q %D)H ±+HPDWLWHJHVVRFDUERQDWRGH FKXPERDPDUHORGHFUyPLR
ϰ FiOFLRD]XOGD3U~VVLD KHPDWLWHQHJURGHFDUERQR
±%UDQFRGHFKXPER YHUPHOKmR
ϯ &DPDGDVFURPiWLFDV
±$PDUHORGHFUyPLR ±UHVLQDWHUSpQLFDy[LGRGHIHUUR
3E)H &D YHUPHOKmRD]XOGD3U~VVLD VLHQD JHVVR
Ϯ
KHPDWLWHQHJURGHFDUERQR
ϭ
3$ &DPDGDGHSUHSDUDomR ± +HPDWLWHJRHWKLWH ± y[LGRGHIHUURD]XOGD3U~VVLD
ϰ 3E&D =Q%D ±*HVVRYHUPHOKmRQHJURGH EUDQFRGHFKXPERFDUER[LODWRVGH
FDUERQR FKXPER
±%UDQFRGHFKXPERDPDUHOR
&DPDGDVFURPiWLFDV
GH FUyPLRYHUPHOKmR
)H &X&D
259
3$ ϳ &DPDGDGHSUHSDUDomR ± %UDQFRGHFKXPERKHPDWLWH QD
ϲ 3E =Q ±%UDQFRGHFKXPER QHJURGH
ϱ ϰ FDUERQR
±%UDQFRGHFKXPERDPDUHOR
&DPDGDVFURPiWLFDV
ϯ GHFUyPLR
)H3E +J&D&X ±1HJURGHFDUERQR YHUPHOKmR
Ϯ
±*RHWKLWH
ϭ ±$]XOGD3U~VVLD
3$ &DPDGDGHSUHSDUDomR ± 1HJURGHFDUERQR ± y[LGRGHIHUUR RFUHYHUPHOKR
3E &D=Q ±+HPDWLWHJRHWKLWHQHJURGH EUDQFRGHFKXPER
FDUERQRJHVVREUDQFRGH ±y[LGRGHIHUUR RFUHDPDUHOR
ϯ FKXPER EUDQFRGHFKXPER
&DPDGDVFURPiWLFDV
±+HPDWLWHJRHWKLWH
)H3E&X $V=Q
Ϯ
ϭ
.
ŶĞdžŽ/sʹĞƐĐƌŝĕĆŽĚŽƐĐŽƌƚĞƐĞƐƚƌĂƚŝŐƌĄĨŝĐŽƐ
Paisagem e animais, 1851
$PRVWUD 02 /X]YLVtYHO 02 /X]XOWUDYLROHWD (';5) linescan 5DPDQ )7,5
3$ &DPDGDGHSUHSDUDomR ± 1HJURGHFDUERQR D]XOGD %UDQFRGHFKXPERFDUER[LODWRVGH
3E&D =Q%D 3U~VVLDJRHWKLWHEUDQFRGH FKXPERVDEmRGHFREUH
FKXPER 5HVLQDWHUSpQLFDy[LGRGH
±6DEmRGHFREUHYHUPHOKmR IHUUR
&DPDGDVFURPiWLFDV
QHJURGHFDUERQREUDQFRGH
3E&X)H +J$V FKXPER
±%UDQFRGHFKXPER
±+HPDWLWHJRHWKLWHQHJURGH
FDUERQR
3$ &DPDGDGHSUHSDUDomR *RHWKLWHTXDUW]R QD
3E&D =Q%D
&DPDGDVFURPiWLFDV
&X)H3E
3$ &DPDGDGHSUHSDUDomR ± EUDQFRGHFKXPER QHJURGH QD
260
3E&D %D=Q FDUERQRVDEmRGHFREUH
YHUPHOKmR
±DPDUHORGHFUyPLR
&DPDGDVFURPiWLFDV
3E&X)H $V+J=Q
3$ ± 3E&D =Q%D)H &DUERQDWRGHFiOFLR EUDQFRGH 6XOIDWRGHEiULRFDUERQDWRGH
3UHS ±3E &D FKXPER FiOFLREUDQFRGHFKXPER
RULJLQDO ±3E 9HULILFDUFRUHV
.
ŶĞdžŽ/sʹĞƐĐƌŝĕĆŽĚŽƐĐŽƌƚĞƐĞƐƚƌĂƚŝŐƌĄĨŝĐŽƐ
Vista da Amora
$PRVWUD 02 /X]YLVtYHO 02 /X]XOWUDYLROHWD (';5) linescan 5DPDQ )7,5
3 E QD %UDQFRGHFKXPERD]XO 9HUPHOKmR D]XOXOWUDPDULQRYHUGH
XOWUDPDULQRYHUGHHVPHUDOGD HVPHUDOGD
3 ± D]XOXOWUDPDULQRYHUGH QD
HVPHUDOGDEUDQFRGHFKXPER
;WŽŶƚƵĂůͿ UXWLORODFDYHUPHOKDVHPVLQDO
Wď͕&Ğ͕;Ƶ͕ƐͿ ±D]XOGD3U~VVLDDPDUHORGH
FUyPLRD]XOXOWUDPDULQR
KHPDWLWHJHVVREUDQFRGH
FKXPER
±KHPDWLWHEUDQFRGH
FKXPERYHUGHHVPHUDOGD
D]XOXOWUDPDULQRQHJURGH
&DPDGDVGHSUHSDUDomR E
± YHUGHHVPHUDOGD&U 2 5HVLQDWHUSpQLFDyOHRD]XOGD
3
3E%D &D ±&U2 3U~VVLDYHUGHHVPHUDOGDEUDQFRGH
FKXPER
261
&DPDGDVFURPiWLFDV
3E)H&U =Q&D&X
3 &DPDGDVGHSUHSDUDomR ± EUDQFRGHFKXPER QD
3E%D &D KHPDWLWHJRHWKLWHTXDUW]R
±EUDQFRGHFKXPERDPDUHOR
GHFUyPLRD]XOGD3U~VVLD
&DPDGDVFURPiWLFDV QHJURGHFDUERQR
3E&X)H$V&U =Q ±KHPDWLWHYHUGHHVPHUDOGD
±KHPDWLWHD]XOXOWUDPDULQR
±EUDQFRGHFKXPER
±KHPDWLWHJRHWKLWHDPDUHOR
GHFUyPLREUDQFRGHFKXPER
D]XOXOWUDPDULQR
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.
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Vista da Amora
$PRVWUD 02 /X]YLVtYHO 02 /X]XOWUDYLROHWD (';5) linescan 5DPDQ )7,5
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Vista da Penha de França, 1857
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$PRVWUD 02 /X]YLVtYHO 02 /X]XOWUDYLROHWD (';5) linescan 5DPDQ )7,5
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$PRVWUD 02 /X]YLVtYHO 02 /X]XOWUDYLROHWD (';5) linescan 5DPDQ )7,5
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$PRVWUD 02 /X]YLVtYHO 02 /X]XOWUDYLROHWD (';5) linescan 5DPDQ )7,5
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Recuar da Onda F
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Recuar da Onda F
$PRVWUD 02 /X]YLVtYHO 02 /X]XOWUDYLROHWD (';5) linescan 5DPDQ )7,5
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Vista da Cidade de Lisboa
$PRVWUD 02 /X]YLVtYHO 02 /X]XOWUDYLROHWD (';5) linescan 5DPDQ )7,5
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$PRVWUD 02 /X]YLVtYHO 02 /X]XOWUDYLROHWD (';5) linescan 5DPDQ )7,5
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Passagem do Gado
$PRVWUD 02 /X]YLVtYHO 02 /X]XOWUDYLROHWD (';5) linescan 5DPDQ )7,5
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Passagem do Gado
$PRVWUD 02 /X]YLVtYHO 02 /X]XOWUDYLROHWD (';5) linescan 5DPDQ )7,5
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Fonte da GuiaF
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294
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314
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318
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.
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323
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326
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ŶĞdžŽs/ʹ džĂŵĞƐĚĞƌĞĨůĞĐƚŽŐƌĂĨŝĂĞƌĂĚŝŽŐƌĂĨŝĂ
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338
.
ŶĞdžŽs/ʹ džĂŵĞƐĚĞƌĞĨůĞĐƚŽŐƌĂĨŝĂĞƌĂĚŝŽŐƌĂĨŝĂ
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&ƌĂŶĕĂĚĞdŽŵĄƐĚĂŶƵŶĐŝĂĕĆŽ;ϭϴϱϳ͕ſůĞŽƐŽďƌĞƚĞůĂ͕ϲϴ͕ϯdžϭϬϱ͕ϱĐŵ͕DEͲD͕/Ŷǀ͘
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339
.
ŶĞdžŽs/ʹ džĂŵĞƐĚĞƌĞĨůĞĐƚŽŐƌĂĨŝĂĞƌĂĚŝŽŐƌĂĨŝĂ
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340
.
ŶĞdžŽs/ʹ džĂŵĞƐĚĞƌĞĨůĞĐƚŽŐƌĂĨŝĂĞƌĂĚŝŽŐƌĂĨŝĂ
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341
.
ŶĞdžŽs/ʹ džĂŵĞƐĚĞƌĞĨůĞĐƚŽŐƌĂĨŝĂĞƌĂĚŝŽŐƌĂĨŝĂ
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342
.
ŶĞdžŽs/ʹ džĂŵĞƐĚĞƌĞĨůĞĐƚŽŐƌĂĨŝĂĞƌĂĚŝŽŐƌĂĨŝĂ
343
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344
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&ƵŶĚĂĕĆŽĂůŽƵƐƚĞ'ƵůďĞŶŬŝĂŶͿ͘
.
$1(;2 9,,-Descrição da composição preparações das obras estudadas
.
&DPDGDGH &RORUDQWHV
3LQWRU 2EUDV &RPSRVWRVEUDQFRV *UDQXORPHWULD
SUHSDUDomR GHWHWDGRV
&D&2 Fina/aglomerados
1 BaSO4 5-10 Irregular n.d.
Branco de chumbo 5-10 Fina
3DLVDJHPH$QLPDLV
BaSO4 5 Irregular Negro de carbono,
(1851) 2
%UDQFRGHFKXPER Irregular/aglomerados óxido de ferro
BaSO4 5 Irregular Negro de carbono,
3
%UDQFRGHFKXPER Fina óxido de ferro
%D62 Irregular Negro de carbono,
9LVWDGD$PRUD 1 óxido de ferro,
Branco de chumbo 30-40 Irregular/aglomerados vermelhão
(1852)
2 %UDQFRGHFKXPER Fina n.d.
1 &D&2 Fina n.d.
&D&2 Fina
7RPiVGD Negro de carbono,
345
9LVWDGD3HQKDGH 2
$QXQFLDomR BaSO4 25 Irregular óxido de ferro
)UDQoD
Branco de chumbo 25 Fina/aglomerados
(1857)
BaSO4 5 Irregular Negro de carbono,
3
%UDQFRGHFKXPER Fina/aglomerados óxido de ferro
&D&2 Fina/aglomerados
1 BaSO4 5 Irregular n.d.
Branco de chumbo 10 Fina/aglomerados
Sulfato de bário 5-10 Fina Negro de carbono,
9LWHOR 2 óxido de ferro,
(1873) %UDQFRGHFKXPER Irregular vermelhão
CaCO3 5-10 Irregular
Negro de carbono,
3 BaSO4 30-35 Irregular vermelhão
%UDQFRGHFKXPER Irregular/aglomerados
*Os números atribuídos às camadas correspondem à numeração dos estratos apresentada nos cortes estratigráficos
** Os valores aproximados das composições químicas e das espessuras das camadas são estabelecidos com base numa apreciação visual e limitada às amostras de corte
estratigráfico analisadas.
n.d. – não detetado
.
$1(;2 9,,-Descrição da composição preparações das obras estudadas
&DPDGDGH &RORUDQWHV
3LQWRU 2EUDV &RPSRVWRVEUDQFRV *UDQXORPHWULD
SUHSDUDomR GHWHWDGRV
&D&2 Fina/aglomerados
1 BaSO4 5-10 Fina n.d.
Branco de chumbo 10 Fina/aglomerados
&LQFRDUWLVWDVHP
&D&2 Fina/aglomerados Negro de carbono,
6LQWUD
2 BaSO4 10 Irregular óxido de ferro, azul
(1855)
ultramarino
Branco de chumbo 30-40 Irregular/aglomerados
BaSO4 5-10 Irregular
3 Vermelhão
%UDQFRGHFKXPER Irregular
-RmR&ULVWLQRGD
&D&2 Irregular Negro de carbono,
6LOYD óxido de ferro,
1 BaSO4 10 Irregular
vermelhão, azul
Branco de chumbo 30 Irregular/aglomerados ultramarino
CaCO3 30-40 Irregular/aglomerados Negro de carbono,
346
5HFXDUGDRQGD óxido de ferro,
2 BaSO4 5-10 Irregular
(1857) vermelhão, azul
%UDQFRGHFKXPER Irregular/aglomerados ultramarino
CaCO3 10 Irregular
Negro de carbono,
3 BaSO4 5 Irregular vermelhão
%UDQFRGHFKXPER Irregular/aglomerados
**Os números atribuídos às camadas correspondem à numeração dos estratos apresentada nos cortes estratigráficos.
** Os valores aproximados das composições químicas e das espessuras das camadas são estabelecidos com base numa apreciação visual e limitada às amostras de
corte estratigráfico analisadas.
n.d. – não detetado
$1(;2 9,,-Descrição da composição preparações das obras estudadas
&DPDGDGH &RORUDQWHV
3LQWRU 2EUDV &RPSRVWRVEUDQFRV *UDQXORPHWULD
SUHSDUDomR GHWHWDGRV
&D&2 Fina/aglomerados
Negro de carbono,
1 BaSO4 5 Irregular óxido de ferro
9LVWDGH/LVERDWLUDGD Branco de chumbo 10 Irregular/aglomerados
GH (QWUHPXURV &D&2 Fina/aglomerados Negro de carbono,
(1859) 2 vermelhão, azul
BaSO4 5 Irregular
ultramarino
Branco de chumbo 10-20 Fina/aglomerados
-RmR&ULVWLQRGD &D&2 Fina/aglomerados Negro de carbono,
6LOYD 1 BaSO4 5-10 Irregular vermelhão, azul
Branco de chumbo ultramarino
40 Fina/aglomerados
3DVVDJHPGRJDGR
(1867) &D&2 Fina/aglomerados Negro de carbono,
2 BaSO4 5-10 Irregular vermelhão, azul
Branco de chumbo ultramarino
347
40 Fina/aglomerados
Negro de carbono,
3 %UDQFRGHFKXPER Irregular/aglomerados vermelhão, azul
ultramarino
0LJXHOÆQJHOR )RQWHGD*XLD CaCO3 10-20 Irregular
1 n.d.
/XSL (c.1878) %UDQFRGHFKXPER Irregular/aglomerados
**Os números atribuídos às camadas correspondem à numeração dos estratos apresentada nos cortes estratigráficos.
** Os valores aproximados das composições químicas e das espessuras das camadas são estabelecidos com base numa apreciação visual e limitada
às amostras de corte estratigráfico analisadas.
n.d. – não detetado
.
.
$1(;29,,, - Descrição dos pigmentos das pinturas estudadas
Pigmentos identificados
7RPiVGD Elemento Azul Branco Branco Verde Amarelo Óxidos Lacas
Azul da Azul Azul Negro Verde Lacas
$QXQFLDomR pictórico de de de de Viridian Verdigris de de Vermelhão vermelhas/
Prússia ultramarino índigo carbono Esmeralda rosa
cobalto chumbo zinco crómio crómio ferro castanhas
Céu [ [ [ [ [ [ [
Mar/rio
Paisagem e
Solo e
Animais [ [ [ [ [
vegetação
(1851)
Vestes [ [ [ [
Carnações [ [ [
Céu [ [ [ [
Mar/rio [ [
Vista da
Solo e
Amora [ [ [ [ [ [ [ [ [
vegetação
(1852)
Vestes [ [ [ [ [ [
Carnações [ [
Céu [ [ [ [ [ [
349
Vista da Mar/rio
Penha de Solo e
[ [ " [ [ [ [ [ [
França vegetação
(1857) Vestes [ [ [
Carnações [ [ [
Céu [ [ [
Mar/rio
Vitelo Solo e
[ [ [ [ [ [ [ [ [
(1873) vegetação
Vestes [
Carnações [
Contém pigmento verde à base de cobre não identificado
.
-RmR Pigmentos identificados
Elemento Azul Branco Branco Verde Amarelo Óxidos Lacas
&ULVWLQRGD Azul da Azul Azul Negro Verde Lacas
pictórico de de de de Viridian Verdigris de de Vermelhão vermelhas/
6LOYD Prússia ultramarino índigo carbono Esmeralda rosa
cobalto chumbo zinco crómio crómio ferro castanhas
Céu [ [ [ [ [ [ [
Cinco Mar/rio
Artistas em Solo e
[ [ [ [ [ [ [ [ [
Sintra vegetação
(1855) Vestes [ [ [ [ [ [ [ [ [
Carnações [ [ [
Céu [ [ [ [ [ [
Mar/rio [ [ [ [ [ [ [ [
Recuar da
Solo e
Onda [ [ [ [ [ [ [ [
vegetação
(c.1857)
Vestes [ [ [ [ [
Carnações [ [
Céu [ [
Vista de Mar/rio [ [
Lisboa
Solo e
350
tirada de [ [ [ [ [ [ [ [ [
vegetação
Entremuros
(1859) Vestes [ [ [ [ [ [ [
Carnações [ [ [
Céu [ [ [ [ [
Mar/rio
Passagem
Solo e
do Gado [ [ [ [ [ [ [
vegetação
(1867)
Vestes [ [ [ [
Carnações [ [
0LJXHO
ÆQJHOR
/XSL
Céu [ [ [ [
Mar/rio [ [ [ [ [
Fonte da
Solo e
Guia [ [ [ [ [ [
rochedos
(c.1878)
Vestes [ [ [ [ [ [
Carnações [ [ [
Contém pigmento verde à base de cobre não identificado
.
$QH[R ,; ± Transcrição das intervenções de conservação e restauro (arquivo DGPC)
'DWD GH (VWDGR GH FRQVHUYDomR
$UWLVWD 3LQWXUD ,QWHUYHQomR GH FRQVHUYDomR HUHVWDXUR
LQWHUYHQomR REVHUYDo}HV
Sujidade geral, verniz ligeiramente Limpeza da camada pictórica com remoção de sujidades aderentes e verniz
amarelecido, estalado largo mas com boa amarelecido com: white spirit (1) + etanol (1/2) + iso-octano (1);
aderência ao suporte, pequenas lacunas Preenchimento de lacunas da camada pictórica com massa vinílica de cor
sobretudo na zona inferior. branca e reversível em água (Modostuc®);
Paisagem Nota: observa-se que existe uma outra Integração de lacunas: numa primeira fase foi efetuada a integração de massas
e Animais 1997 composição/pintura subjacente, pelo que com têmperas (Talens®) e água desionizada com tensioativo (Agepon®); depois,
(1851) esta é uma tela reaproveitada devido à sua reversibilidade foi aplicado verniz de retoque (Talens®) diluído em
provavelmente de uma outra composição white spirit, com o fim de funcionar como camada isolante e, paralelamente,
ou estudo efetuado, eventualmente pelo proceder à saturação das cores. Posteriormente teve lugar a fase de finalização
próprio artista. com pigmento (W&N) aglutinado em verniz de retoque (Talens®). Como verniz
de proteção final foi aplicado verniz de retoque (Talens®).
O suporte encontrava-se me bom estado
de conservação apenas com sujidades Fixação pontual da camada cromática; limpeza de sujidades superficiais do
Vista da
superficiais. A camada cromática suporte; limpeza de sujidades da camada cromática, remoção do verniz
Amora 2002*
apresentava sujidades superficiais, falta de amarelecido; nivelamento de lacunas e integração cromática; aplicação da
(c.1852)
adesão pontual e o verniz de proteção camada de proteção final.
encontra-se muito amarelecido.
351
Possui marcas no verso - “Qualificação:
7RPiV GD
Bom // Assis preze // Sousa secret.// Fixação da película cromática com cera, goma elemi e resina dâmar; remoção
$QXQFLDomR Fonseca // Metrass // Silva. de vernizes oxidados e amarelecidos com essência de petróleo e pequena
1971 Deteriorações: vernizes oxidados e percentagem de álcool; preenchimento de lacunas com massa de caulino e
amarelecidos. A camada cromática integração das mesmas a têmpera com finalizações a tinta de óleo e verniz;
encontra-se em degradação observando- proteção com verniz de retoque (Talens®).
Vista da se já algumas lacunas.
Penha de A pintura encontra-se com a camada
Reentelagem: (cera : dâmar : elemi) (7:2:1); remoção dos vernizes amarelecidos
França cromática, na zona inferior em
com white siprit e pequena percentagem de acetona; preenchimento de lacunas
(1857) 1976 degradação. Os vernizes estão
e finalização com tinta de óleo e verniz. Antes do retoque preencheram-se as
desigualmente aplicados e levemente
lacunas com massa de caulino. Proteção com verniz “à retoucher”
amarelecidos.
A pintura está em bom estado de
Limpeza: passagem com white spirit para remover as poeiras; Camada
conservação.
1987 cromática: finalização de pequenas falhas nas extremidades da pintura com tinta
Nota: para figurar na Exposição de Arte
a óleo e verniz.
Portuguesa de séc.XIX, Paris, 1987.
Tela enfraquecida e ondulada com Planificação e reentelagem a cera; limpeza do verniz amarelecido com isso-
pequeno rasgão; camada cromática em octano e acetona (1:1); Camada cromática: preenchimento das faltas com
Vitelo 1987
razoável estado de conservação, massa de caulino; integração feita a óleo e verniz: proteção final com verniz “à
(1873)
pequenas lacunas, verniz amarelecido. retoucher” aplicado à pistola.
* Este relatório foi facultado pelo MNAC-Museu do Chiado a 4 de Junho de 2010. A intervenção foi levada a cabo em março de 2002 pela empresa Arterestauro, Pintura e Escultura, Lda.
.
'DWD GH (VWDGR GH FRQVHUYDomR
$UWLVWD 3LQWXUD ,QWHUYHQomR GH FRQVHUYDomR HUHVWDXUR
LQWHUYHQomR REVHUYDo}HV
A tela encontra-se em razoável estado
Cinco
de conservação, embora tendo Fixação da camada cromática e integração de craclês com tinta a óleo diluída em
artistas em
1987 necessitado, nalgumas zonas, ter sido verniz; proteção final com verniz retoucher.
Sintra
fixado pois a camada cromática estava (não há indicação da data que terá sido realizada a reentelagem)
(1855)
em desagregação
Vista de Consolidação pelo reverso da tela com Paraloid B72 e Xilol (5%). Colocação de
Lisboa tirada Grade deficiente provoca deformação na uma grade nova. Colocação de bandas de tela muito fina com D.M.5 para ser de
de 1976 tela. Pequeno rombo. Vernizes novo encerada. Remoção de vernizes com white e acetona. Preenchimento de
-RmR entremuros deteriorados. lacunas com caulino e tonalização a tinta de óleo em verniz. Aplicação de verniz
&ULVWLQR GD (1859) de protecção.
6LOYD Reentelagem a cera: (cera : dâmar : elemi) (7:2:1) em tela fina; limpeza com
A passagem levantamento de vernizes; camada cromática: preenchimento com massa de
Pintura um pouco ondulada e com verniz
do gado 1987 caulino na margem superior da pintura, assim como em pequenas lacunas no
amarelecido
(1867) centro inferior da tela, tonalizaram-se as massas com tinta de óleo e verniz;
proteção final com verniz “à retoucher”
Recuar da
Onda* - - -
(c.1857)
352
.
$QH[R ; ± 'HVFULomR GDV DEVRUo}HV GH LQIUDYHUPHOKR GH R[DODWRV
&KXNDQRY
0LQHUDO )yUPXOD TXtPLFD GR R[DODWR
ڶD &2 ڶV &2 į 2& 2
Whewellite Ca(C2O4)·H2O - -
Weddellite Ca(C2O4)·2H2O - - -
Humboldtine Fe(C2O4)·2H2O - -
Moolooite Cu(C2O4)·nH2O; (n<1) -
.DKULP HW DO
Ox. Cálcio Ca(C2O4)·?H2O -
6DOYDGy HW DO
Weddellite/
Ca(C2O4)·nH2O -
whewellite
Ox. Chumbo PbC2O4 - -
Ox. Cobre Cu(C2O4)·nH2O -
3LQWXUD 'HVFULomR DPRVWUD
3VL verniz amarelo sup a1 cd1 1614 1318
7VL vermelho cast a1 cd1 1371 1324
7VL verniz amarelo a1 cd1 sh 1384 1322+1315 sh 780
VISTA DE LISBOA 8VL vermelho a3 cd1 1610 1377
353
24VL verde a1 cd1 1609
24VL verde a1 cd4 sh
27VLcast mto esc tronco a2 cd2 1381
Amora a4-glaze cast cd1
VISTA DA AMORA
Amora a14 verde transp cd1 sh 778 ?
CAS 7 verde claro a1 cd3 1314 780 ?
CAS 17 lar casac XRF36 a2 cd3 1325+1315 sh 778 sh ?
CAS 31 azul risca saia (+rosa) a3
CINCO ARTÍSTAS 1323
cd1
EM SINTRA
CAS 45 castanho a2 cd1 1611 1323 783?
CAS 60 cast preto chapéu a1 cd1 1315 780
CAS 73 cast esc cabelo velho a1 cd1
FG_ Partícula azul céu a1 cd1 1320
FONTE DA GUIA FG_18 castanho mto escuro a1 cd1 1318 780 ?
sh
FG_21 ocre laranja vermelho a2 cd1 782
.
$QH[R ; ± 'HVFULomR GDV DEVRUo}HV GHLQIUDYHUPHOKR GH R[DODWRV
&KXNDQRY
0LQHUDO )yUPXOD TXtPLFD GR R[DODWR
ڶD &2 ڶV &2 į 2& 2
Whewellite Ca(C2O4)·H2O - -
Weddellite Ca(C2O4)·2H2O - - -
Humboldtine Fe(C2O4)·2H2O - -
Moolooite Cu(C2O4)·nH2O; (n<1) -
.DKULP HW DO
Ox. Cálcio Ca(C2O4)·?H2O -
6DOYDGy HW DO
Weddellite/
Ca(C2O4)·nH2O -
whewellite
Ox. Chumbo PbC2O4 - -
Ox. Cobre Cu(C2O4)·nH2O -
3LQWXUD 'HVFULomR DPRVWUD
1380 VK
PA m2 vel cast escuro arvore a1 cd3 781
?
PAISAGEM E
VK
354
PA m2 vel cast escuro arvore a1 cd4 781
ANIMAIS
PA m7 glaze castanha a3 cd1 781 ?
PA6 verde a2 cd1 " sh 1316
PENHA DE FRANÇA PF verde partícula superfície a1 cd2 1614 sh 1317
PASSAGEM DO PG28 verniz amarelo sup a1 cd2 780
sh
GADO
PG50 cast esc sup a1 cd1 + sh 1385
RO_24 verde a1 cd1 ? 1377 781 ?
RECUAR DA ONDA RO_27 cast verniz amarelo a1 cd1 sh 1384 VK 780
RO_32 amarelo a1 cd4 sh 1377 780 ?
VITELO V3 verde antes da prep a1 cd1
.
$1(;2;, ± 5HVXOWDGRV GHDQiOLVHVGH PLFURIOXRULPHWULD
Os espectros de excitação e emissão das micro-amostras recolhidas das pinturas de João
Cristino da Silva são apresentados. Enquanto que os espectros de fluorescência das micro-
amostras 17VL e CAS68 assemelham-se bastante a uma laca de ácido carmínico, os espectros
da micro-amostra 34VL requerem ainda algum estudo para sua identificação.
Design experimental
As medições foram obtidas com o instrumento microSPEX, com o Spex Fluorog 3-2.2 conectado
a um microscópio confocal Olympus BX51 M. Filtros dicroicos de 570 nm e 525 nm foram usados
para obter os espectros de excitação e emissão, respectivamente. Os espectros de excitação (M)
foram realizados recolhendo o sinal a 580 nm, enquanto que os espectros de emissão (X) foram
adquiridos excitando a 520 nm. Todos os espectros foram obtidos numa área de 30 ȝm, pinhole 8
com ampliação 50x, e com o conjunto de slits (abertura do sinal): emissão = 3 / 3 / 3 mm e
excitação = 5 / 3 / 0,8 mm. Em todas as micro-amostras foram realizadas, pelo menos, 5 análises.
Resultados (ver Tabela XI.1.)
Foram obtidos bons espectros para as seguintes micro-amostras: CAS68, 17VL e 34VL. Foram
também analisadas as amostras 7VL e 60VL, contudo não foi possível obter sinal.
As micro-amostras CAS68, 17VL e 34VL apresentam maioritariamente partículas ou áreas rosas,
rosas claros e rosas avermelhados. Em particular, a micro-amostra CAS68 contém partículas
rosas com áreas azuis.
As micro-amostras CAS68 e 17VL apresentam espectros de excitação e emissão semelhantes
(Figs. XI.1. eXI. 2.). O espectro de excitação da micro-amostra CAS68 contém uma única banda
com um máximo a 523 nm, enquanto que a micro-amostra 17VL apresenta uma banda com um
máximo de excitação a 522 nm com um ombro a 547 nm. Os espectros de emissão de ambas
amostras apresentam uma única banda com Ȝem § 579-82 nm. Os espectros de excitação e
emissão da micro-amostra 17VL apresentam semelhanças com a referência do ácido carmínico
complexado com Al3+1, cujo cromóforo e complexo estão habitualmente associados às lacas de
cochinilha (Fig. 3). Os espectros da micro-amostra CAS68 são também semelhantes aos da
referência do complexo com ácido carmínico, com a excepção de um ombro a cerca de 550 nm,
que se encontra ausente no espectro de excitação. Esta diferença nos espectros poderá ser
explicada pelo meio que envolve o cromóforo ou pela presença de outros materiais emissores.
A micro-amostra 34VL apresenta espectros de excitação com uma forma diferente, apresentando
um máximo a 527-30 nm e um ombro a 500 nm (Fig. XI.4). Os espectros de emissão, por outro
lado, são muito semelhantes com os anteriormente descritos, com um máximo a 580 nm. Todavia
não se encontrou nenhum exemplo semelhante ao comparar com outros espectros de referência
(garança, cochinilha, goma laca, kermes e pau-brasil). Apesar dos espectros de excitação serem
Ácido carmínico em MeOH:H2O (70:30, v/v) com Al3+ (x100) a pH 3.5, aplicado em papel de filtro.
355
.
semelhantes à referência da purpurina, a emissão é mais semelhante às encontradas nas outras
micro-amostras e na referência do ácido carmínico.
7DEHOD;, Máximo de excitação e emissão das micro-amostras analisadas.
0LFURDPRVWUD &RU ȜH[F PD[ QP ȜHPPD[ QP 2EVHUYDo}HV
Trata-se provavelmente de uma
CAS68 Rosa 523 582
laca de ácido carmínico?
Trata-se provavelmente de uma
17VL Rosa 522 (547) 579
laca de ácido carmínico.
34VL Rosa 527-30 580
Micro-amostra: &$6
$ $
" !
Figura XI.1. Área rosa (CAS68M6 & CAS68X6)
Micro-amostra: 9/
$ $
" !
Figura XI.2. Área rosa (17VLM5 & 17VLX5)
356
.
#! $
!
" !
)LJXUD ;,
Micro-amostra: 9/
$ $
$ $
" !
)LJXUD ;, Área rosa (ʊ 34VLM6 & 17VLX6 ; ʊ 34VLM8 & 17VLX8)
357
.
.
$1(;2;,,–5HVXOWDGRVREWLGRVSRU SERS
FP
)LJXUD ;,, – Espectro de SERS das partículas de laca vermelha
encontrada na pintura Vitelo (1873).
FP
)LJXUD ;,, – Espectro de SERS das partículas de laca rosa
encontrada na pintura Vista de Lisboa tirada de Entremuros (1859).
359
.
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