ABSTRACT

Alonso Cano is considered one of the most original and brilliant artists from the Spanish Golden Age (known in Spanish as Siglo de Oro), a period of flourishing in arts and literature. He was also the founder of the Baroque painting school of Granada. This paper focuses on the painting the Visitation painted by Cano in 1652 and housed in the main chapel of Granada Cathedral. This study is part of an ambitious 11-year project aimed at understanding Cano's working technique by considering both the evolution of his painting style and the reconstruction of his color palette. Through this extensive project we intended to provide necessary scientific evidence to help in authorship verification in cases of controversial attribution to Cano of paintings included in the current catalogue of the artist. To this end, the Visitation was included in the project and a series of non-invasive and minimally invasive analytical techniques were applied to gain a wider insight into the artist's technique and the materials used to create his paintings. Macroscopic and microscopic examination of the surface, infrared reflectography, ultraviolet fluorescence, and X-radiography were performed. The underdrawings found reveal some significant changes in the composition of the figures. The results of optical microscopy, UV fluorescence microscopy, and scanning electron microscopy revealed a quasi-sculptural treatment of the figures, where the artist tested different pigment:binder ratios and applied several pictorial layers of different thicknesses. SEM with energy dispersive X-ray spectroscopy, attenuated total reflection Fourier transform infrared spectroscopy, and micro-Raman spectrometry were used to identify the pigments present in individual layers. The results showed that pigments generally available in the seventeenth century were used, including white lead, malachite, copper resinate, vermilion, red lake, lapis lazuli, smalt, red lead, bone black, and carbon black. Additionally, gas chromatography-mass spectrometry analysis suggested the use of linseed oil binding medium.

摘要

阿隆索·卡诺（Alonso Cano）被认为是西班牙黄金时代（西班牙语称为Siglo de Oro）中最具原创性和最杰出的艺术家之一，这是一个艺术和文学蓬勃发展的时期。他还是格拉纳达巴洛克绘画学校的创始人。这篇论文的重点是《探望》这幅画这幅画由卡诺于 1652 年绘制，收藏在格拉纳达大教堂的主教堂内。这项研究是一项雄心勃勃的为期 11 年的项目的一部分，旨在通过考虑卡诺绘画风格的演变和调色板的重建来了解卡诺的工作技巧。通过这个广泛的项目，我们打算提供必要的科学证据，以帮助在艺术家当前目录中包含的绘画有争议的归属于卡诺的情况下进行作者身份验证。为此，探访该项目包括一系列非侵入性和微创分析技术，以更广泛地了解艺术家的技术和用于创作绘画的材料。进行了表面的宏观和微观检查、红外反射、紫外荧光和 X 射线照相。发现的欠款揭示了数字构成的一些重大变化。光学显微镜、紫外荧光显微镜和扫描电子显微镜的结果揭示了人物的准雕塑处理，艺术家测试了不同的颜料：粘合剂比例并应用了几个不同厚度的图案层。SEM 与能量色散 X 射线光谱、衰减全反射傅里叶变换红外光谱、和显微拉曼光谱法用于识别存在于各个层中的颜料。结果表明，使用了十七世纪普遍可用的颜料，包括白铅、孔雀石、树脂酸铜、朱砂、红淀、青金石、麦芽、红铅、骨黑和炭黑。此外，气相色谱-质谱分析建议使用亚麻籽油结合介质。