Relevant bibliographies by topics / Portuguese Panel painting

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Academic literature on the topic 'Portuguese Panel painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 July 2025

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Journal articles on the topic "Portuguese Panel painting"

1

Antunes, Vanessa, António Candeias, José Mirão, et al. "From Flanders to Portugal: A Portuguese Painter in Pursuit of Prestigious Flemish Painting—Materials and Techniques Compared Through an Analytical Approach." Heritage 8, no. 6 (2025): 205. https://doi.org/10.3390/heritage8060205.

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This study offers fresh insights into the technical and stylistic exchanges between Flemish and Portuguese panel painting during the late 15th and early 16th centuries. By comparing two contemporaneous works, we trace Flemish influence in Portugal through a detailed materials and techniques analysis. Non-invasive, in situ methods—including energy dispersive X-ray fluorescence (XRF), macro-photography (MP), infrared reflectography (IRR), and dendrochronology—were used to examine each painting’s wooden support, ground layer, underdrawing, and pigment stratigraphy. Select micro-sampling analyses—
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2

Shen, Xinxin. "Portuguese Azulejo: A Transcultural Odessey of the East and the West." Advances in Social Science and Culture 7, no. 1 (2025): p1. https://doi.org/10.22158/assc.v7n1p1.

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This research focuses on the art of Portuguese azulejo. Originating in Moorish Andalusia during the medieval period, azulejo manifests as architectural ornamentation, tiled murals, and various forms of decorative painting. Their transmission to Portugal led to the development of uniquely Portuguese tiled panel artistry. During the Ming and Qing dynasties, East-West cultural exchanges resulted in the integration of Chinese blue and white porcelain artistry into Portuguese azulejo, impacting their colors, styles, and aesthetics. To this day, Portuguese azulejo artistry stands as a cultural herit
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3

Melo, Helena P., António João Cruz, Jana Sanyova, Sara Valadas, and Ana Margarida Cardoso. "Paint, Colour, and Style: The Contribution of Minerals to the Palette of the Descent from the Cross, Attributed to the Portuguese Painter Francisco João (act. 1558–1595)." Minerals 13, no. 9 (2023): 1182. http://dx.doi.org/10.3390/min13091182.

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The paint materials and techniques of The Descent from Cross, a panel painting attributed to the Portuguese painter Francisco João (act. 1558–1595), were investigated with a combination of visible, ultraviolet, and infrared imaging and an analysis of paint samples with microscopic, spectroscopic, and chromatographic techniques. The colour palette is composed of lead white, lead–tin yellow, minium, vermilion, ochres of different colours, umber, smalt, azurite, verdigris, charcoal black, and a variety of different-coloured red lakes made of brazilwood and cochineal. An oil-based medium was ident
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Antunes, Vanessa, Sara Valadas, Vitor Serrão, et al. "Josefa d' Óbidos workshop from panel to canvas. Multianalytical approach to materials and technical evolution of the most significant Portuguese painting workshop of the 17th century." Journal of Molecular Structure 1188 (July 2019): 31–41. http://dx.doi.org/10.1016/j.molstruc.2019.02.067.

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5

Salema de Carvalho, Rosário. "The afterlife of François Le Moyne’s Annunciation on eighteenth-century Portuguese azulejos." Eikon / Imago 14 (February 7, 2025): e92881. https://doi.org/10.5209/eiko.92881.

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Considered lost until a few years ago, the Annunciation painted by François Le Moyne in 1727 (and turned into a print, in the following year, by Laurent Cars) was widely copied, both in paintings and prints. But while the paintings – some of them thought to have originated in Le Moyne’s own workshop – are well documented, the same cannot be said of the prints. Nonetheless, these works remain highly significant, as they were the main vehicles for the dissemination of images in the 18th century. In Portugal (and Brazil), researchers have found 34 eighteenth-century azulejo panels inspired by thi
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Salavessa, Eunice, José Aranha, Rafael Moreira, and David M. Freire-Lista. "Proto-Early Renaissance Depictions, Iconographic Analysis and Computerised Facial Similarity Assessment Connections: The 16th Century Mural Paintings of St. Leocadia Church (Chaves, North of Portugal)." Heritage 7, no. 4 (2024): 2031–54. http://dx.doi.org/10.3390/heritage7040096.

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The aim of this paper is to analyse facial similarity and apply it to identify the individuals depicted in the mural paintings of the apse of St. Leocadia Church, located in Chaves Municipality (North of Portugal), which were painted during the first quarter of the 16th century. This study also compares the portraits of this mural paintings with the oil paintings by the Proto-Renaissance Portuguese painter Nuno Gonçalves. Through this research, the feasibility of face recognition technology is explored to answer many ambiguities about Manueline stylistic identity and iconography. Additionally,
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7

Pessanha, S., M. Manso, V. Antunes, M. L. Carvalho, and J. M. Sampaio. "Monte Carlo simulation of portable X-ray fluorescence setup: Non-invasive determination of gold leaf thickness in indo-Portuguese panel paintings." Spectrochimica Acta Part B: Atomic Spectroscopy 156 (June 2019): 1–6. http://dx.doi.org/10.1016/j.sab.2019.04.006.

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8

Pereira, M., T. de Lacerda-Arôso, M. J. M. Gomes, A. Mata, L. C. Alves, and Philippe Colomban. "Ancient Portuguese Ceramic Wall Tiles (“Azulejos”): Characterization of the Glaze and Ceramic Pigments." Journal of Nano Research 8 (September 2009): 79–88. http://dx.doi.org/10.4028/www.scientific.net/jnanor.8.79.

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Ancient ceramic wall tiles, called “azulejo”, firstly used on Portuguese churches, monasteries and palaces (15-18th century) have progressively been used in particular houses till the last century. These tiles and its use in huge decorative panels can be considered as a precious but fragile cultural heritage from Brazil to India, in several countries influenced by Portuguese culture. Morphologically, these tiles are composed by a porous clay-based ceramic body, the terracotta, covered by a protective glassy phase, the glaze. As artistic paintings, these murals incorporated various kinds of pig
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9

Neto, Alda H. "‘Brazilians’1 houses’: an example of nostalgia and a proposal of touristic empowerment." Tourism and Hospitality Research 16, no. 3 (2016): 294–307. http://dx.doi.org/10.1177/1467358415602956.

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On the second half of the 19th century, Portuguese emigration to Brazil was a major historical and sociological phenomenon. After an arduous path, the Portuguese returned and became part of the political, economical, social and artistic lives of their hometowns, causing a change on the architectural landscape in the north of the country. These emigrants built houses that became hugely important as social buildings; they represented the way in which each one of them inserted himself in the community that saw him leave. The taste printed by each one of the emigrants in their houses made them a l
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10

Reis, Teresa, Sara Valadas, Ana Machado, et al. "Searching for the original portrait of Afonso de Albuquerque – new revelations from the Viceroys Gallery of Goa." Conservar Património, May 2024. http://dx.doi.org/10.14568/cp28800.

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This paper is dedicated to the research undertaken to discover the original portrait of Afonso de Albuquerque from the Viceroys Gallery of Goa. Following a previous research which confirmed that the portrait exhibited at the National Museum of Ancient Art, in Lisbon is, in fact, the result of successive interventions over another Governor’s painting, the question arose whether the original portrait still existed among the remaining collection, in Goa. In the context of the project Old Goa Revelations, where a team of Portuguese and Indian researchers carried out, for the first time, a joint sc
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Books on the topic "Portuguese Panel painting"

1

Gonçalves, Nuno. Nuno Gonçalves: Novos documentos : estudo da pintura portuguesa do séc. XV. Instituto Português de Museus Reproscan, 1994.

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2

Castro, António Osório de. Os painéis do Museu de Lisboa e D. Carlos da Catalunha. Livraria Civilização Editora, 1988.

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Castro, António Osório de. Os painéis do Museu de Lisboa e D. Carlos da Catalunha. Livraria Civilização Editora, 1988.

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4

Ana Maria Teves Franco de Lemos. A face, a face oculta dos painéis de Setúbal =: On the face, the hidden face of the Setúbal panels. [s.n.], 1993.

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5

Theresa Schedel de Castello Branco. Os Painéis de S. Vicente de Fora: As Chaves do Mistério. Quetzal Editores, 1994.

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6

Correia, Vergílio. Vasco Fernandes: Mestre do retábulo da Sé de Lamego. 2nd ed. Instituto de Historia da Arte, Universidade de Coimbra, 1992.

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Markl, Dagoberto L. O retábulo de S. Vicente da Sé de Lisboa e os documentos. Caminho, 1988.

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Markl, Dagoberto L. O retábulo de S. Vicente da Sé de Lisboa e os documentos. Caminho, 1988.

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Serrão, Vitor. Tomás Luís: E o retábulo da igreja da Misericórdia do Montijo : (1591-1597). Edições Colibri, 2005.

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Pereira, Fernando António Baptista. Retábulo do Convento de Jesus de Setúbal: Ca. 1517/19-1530. Setúbal Município Participado, 2013.

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