Documente Academic
Documente Profesional
Documente Cultură
Sanchez-Posada
LA ANUNCIACIÓN
(Museo del Prado n.° 827)
http://www.the-athenaeum.org/art/full.php?ID=35681
LA ANUNCIACIÓN
(Hospital de Illescas)
http://www.wga.hu/support/viewer/z.html
LA ANUNCIACIÓN.
(Grupo Banco Hispano
Americano)
…La Anunciación del Grupo Banco Hispano-Americano
pertenece al ultimo momento creativo del artista...Se
encuentra seccionada en su parte superior, el concierto de los
ángeles, que pertenece a la Pinacoteca Nacional de Atenas...
http://www.wga.hu/support/viewer/z.html
http://www.wga.hu/support/viewer/z.html
ESTRUCTURA MATERIAL
La preparación de los tres lienzos es blanca y fue realizada
con sulfato de calcio, mezclado con cola de origen
animal. En la Anunciación de Illescas este estrato es más
delgado que en las otras dos…
…La imprimación está dada de una manera general sobre
las preparaciones. En los tres cuadros es de tonalidad
anaranjada por la mezcla de los óxidos de hierro, el
blanco de plomo, negro de origen orgánico, y pequeñas
cantidades de minio de plomo, laca orgánica roja y
azurita…
NOTA
…similitud de los pigmentos pude llevar a la idea de que la
transformación del cuadro, en cuanto a la ampliación de sus
dimensiones, fue hecha en época no muy lejana a la realización de la
pintura. Por lo que muy bien pudo ser realizada en el siglo xvm, como
han apuntado varios historiadores basándose en la nueva estética que se
le da a la obra más en consonancia con los gustos de este siglo.
…los materiales utilizados por Velázquez en la ejecución de Las
hilanderas fueron los siguientes:
Blanco: blanco de plomo, calcita.
Negro: negro orgánico de origen vegetal y animal.
Rojo: bermellón de mercurio, laca orgánica roja, óxidos de hierro.
Azul: azurita, esmalte y lapislázuli.
Marrón: óxido de hierro marrón.
Naranja: óxido de hierro naranja y minio.
El cuadro tiene sobre el lienzo una preparación compuesta de blanco de
plomo como base y mezcla de pigmentos ocre rojizo y negro, lo que le
da una tonalidad ligeramente rosácea…
…Amber, like many other painters' materials, was used to alleviate the symptoms of
a number of unpleasant medical disorders. The tincture – the alcohol-soluble fraction
– of amber (which de Mayerne used in the preparation of a varnish with oil of
lavender) … and the oil distilled from the solid resin were said to be good for
apoplexy, epilepsy and similar maladies... Amber varnish was not particularly easy to
prepare because of the hardness of the resin; the recipe noted by Christopher Love
Morley during his studies in Leiden consisted of heating the coarsely powdered
amber with either linseed or walnut oil until it had liquefied and was black in colour. It
was then poured onto a damp stone and allowed to cool, after which it was
powdered and cooked with oil, previously heated with bread (to remove water) and
chalk (to remove free acids). After filtering, the varnish was ready for use... De
Mayerne, who made a number of attempts at preparing amber varnishes, gives a
very similar recipe; the resulting varnish, he said, was red in colour and used by lute
makers ...
…Because of its strong colour, amber varnish appears to have been used mostly for
musical instruments and similar items. De Mayerne referred to its use in Italian
painting practice (specifically by Orazio Gentileschi and his daughter Artemisia):
because it flowed well, it was apparently mixed with two or three parts of walnut oil
and applied over the first layer of paint, or dead colouring, thus helping the paint
applied subsequently to spread ... Similarly, a drop of oil of amber mixed with the
colours already ground in oil on the palette allowed them to spread more easily and
gave them a glass-like lustre ... The strong red colour was said not to affect the light
flesh colours to which it was added. In the case of Bol's portrait, it seems likely that
the varnish was used for its red colour, rather than for its spreading properties…
Ferdinand Bol,
Portrait of a young lady with a fan
http://www.the-athenaeum.org/art/full.php?ID=89023
Orazio Gentileschi
https://www.facebook.com/photo.php?fbid=540322642689727&se
t=a.423502324371760.101202.423479437707382&type=1&theat
er
Orazio Gentileschi
https://www.facebook.com/photo.php?fbid=573397382723599&set
=a.228074600589214.58573.220841181312556&type=1&theater
Orazio Gentileschi
https://www.facebook.com/photo.php?fbid=548565821865409&set
=a.423502324371760.101202.423479437707382&type=1&theater
Artemisia Gentileschi
https://www.facebook.com/photo.php?fbid=10200707331099256&s
et=a.1395047549810.2056195.1040841990&type=1&theater
Artemisia Gentileschi
http://www.pbart.com/wp-content/uploads/2012/03/liste-8_musa-
della-pittura_coll-part.jpg
Artemisia Gentileschi
http://24.media.tumblr.com/tumblr_lkgy1frd8t1qghk7bo1_1280.jpg
Artemisia Gentileschi
http://3.bp.blogspot.com/-
FjTBfy9XX98/UUXKnwrR3gI/AAAAAAAACBY/CAhVe3_pKuE/s16
00/Artemisia_Gentileschi_Condottiero_Bologna.jpg
Artemisia Gentileschi
http://artesenzaconfini.myblog.it/apps/media.php?url=http%3A%2
F%2Fartesenzaconfini.myblog.it%2Fmedia%2F01%2F02%2F109
1259994.jpg
Artemisia Gentileschi
https://www.facebook.com/MuseoImmaginarioArtisenzaTempo/ph
otos/a.423502324371760.101202.423479437707382/566595250
062466/?type=1&theater
Jacques BLOCKX Fils s.a.
[www.blockx.be]
Photo of samples from Stefan Arteni’s collection
Blockx Amber Varnish [left]
It contains 36% pure dissolved amber resin…36% purified poppyseed oil
and 28% turpentine. [From DickBlick.com]
Amber Painting Solution [right]
Formulated with 57% amber varnish, 16% spike spirit and 27%
poppyseed oil.
[From DickBlick.com]
http://www.alchemistmediums.com/products_artists.php#amberva
rnish
http://zecchi.it/admin/catalogo/67/vt2.png
https://www.oldwood1700.com/en/producto/classical-amber-
varnish/#gallery-product