During the seventeenth century, the use of smalt and indigo became increasingly common among painters’ workshops in New Spain. The unprecedented importance of these two blue pigments in oil painting may be explained by artistic and geopolitical circumstances. This article expands on the use of blue smalt—a byproduct of glass production and a material that lacks in-depth study in viceregal painting—by focusing on the technical analysis of El Triunfo de la Eucaristía and La Asunción painted by Cristóbal de Villalpando (ca. 1649–1714), which are part of the collection of the Museo Regional de Guadalajara (Mexico). The technological and material study of both paintings, situated within the trade and circulation of painting materials at the turn of the eighteenth century, shows how the painter deployed techniques rooted in his predecessors while incorporating particular technical adaptations. The authors examine cross-section samples of Villalpando’s paintings with optical microscopy, Scanning electron microscopy with energy dispersive X-ray spectroscopy (SEM-EDX), and Fourier-transformed infrared spectroscopy (FT-IR), and were able to identify different qualities of smalt as well to suggest a possible provenance. These analyses evidence novel aspects in the painting tradition of workshops in New Spain that ultimately reverberated in practices of the long eighteenth century.

中文翻译：

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研讨会的核心：克里斯托瓦尔·德·维拉潘多的两幅画中蓝色蓝藻的使用的新颖方面

在17世纪，在新西班牙的画家工作室中，使用smalt和indigo变得越来越普遍。这两种蓝色颜料在油画中的空前重要性可以通过艺术和地缘政治环境来解释。本文扩展了使用蓝smalt，玻璃生产，缺乏深入研究在太守的材料的副产品的绘画，专注于技术分析埃尔温福德拉Eucaristía和拉亚松森由克里斯托瓦尔·德维拉潘多（Cristóbalde Villalpando）（约1649–1714年）绘制，这是瓜达拉哈拉博物馆地区（墨西哥）的一部分。对两种绘画的技术和材料研究都位于十八世纪初的绘画材料交易和流通中，显示了画家如何运用植根于其前辈的技术，同时结合特定的技术改编。作者使用光学显微镜，具有色散X射线能谱（SEM-EDX）的扫描电子显微镜和傅立叶变换红外光谱（FT-IR）检查了Villalpando绘画的横截面样品，并能够确定不同质量的还要暗示可能的出处。