La reintegración cromática en pintura contemporánea monocromática sin barnizarun caso de estudio basado en la obra de Jorge Martins

  1. Marques Aleixo, Marta
  2. Bailão, Ana
  3. Gomes, Andreia
  4. Linhares, João
  5. San Andrés, Margarita
  6. Nascimento, Sérgio
Journal:
Ge-conservación

ISSN: 1989-8568

Year of publication: 2020

Issue Title: Ge-conservación Nº18

Volume: 18

Pages: 328-338

Type: Article

DOI: 10.37558/GEC.V18I1.817 DIALNET GOOGLE SCHOLAR lock_openDialnet editor

More publications in: Ge-conservación

Abstract

The choice of chromatic reintegration materials for contemporary monochromatic oil and acrylic emulsion unvarnished paints is usually a problem before treatment. This kind of paintings maybe subject to abrasions, especially on the edges, fingerprints and smudges, mainly caused during handling. Being unvarnished works, chromatic reintegration becomes a more complex process as no protective layer exist over the paint. The aim of this work was to assess the materials that over performed in the reintegration of paintings from the Portuguese painter Jorge Martins. Representative mock-ups made with the artist and using his materials and techniques were artificially aged. Different types of materials, aqueous and non-aqueous, were then tested to assess the best ones. It was found that the best results were obtained with Ferrario® pigment dispersed in the Tri-Funori® binding medium and with Winsor & Newton® Designers Gouache, both aqueous and non-toxic.

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