The painting of the ceiling of the Theater Vico Jumilla (Murcia). Historical and material study
Abstract
The theatrical representations were one of the axes of social life of 19th century in Spain, so during that century were built many buildings that also needed furniture, furnishings and paintings that set a sumptuous atmosphere. Many of these paintings were made in queue on canvas tempera. An example of this is the ceiling painting of the Vico theater in the city of Jumilla in Murcia (Spain) (ca. 1883). Its microanalytical study has revealed the materials and work methodology applied in his execution, which are characteristic of 19th century decorative painting. The use of certain pigments produced by modern European industry, accompanied by more traditional ones, which fall within the category of historical pigments, has been confirmed. Likewise, the identification of calcium carbonate, in the form of chalk, in the preparations and in the pictorial layer is noteworthy.
Downloads
References
AROLA, F. (1920). Escenografía. Barcelona: Calpe.
BELLANGER, C. (1899). Manual de pintura al alcance de todo el mundo. (trad. franc. By E. Zamacois). París. Garnier Hermanos, Libreros-Editores.
BERRIE, B. H. (1997). “Prussian Blue”. En Artists´Pigments, A Handbook of their History and Characteristics, E.W. Fitzhug (ed.). Vol. 3. Oxford: Oxford University Press, pp.191-217.
CATALÁN, M. S. (2003). La escenografía de los dramas románticos españoles (1834-1850). Zaragoza: Prensas Universitarias de Zaragoza. Zaragoza.
DE LA HOZ, J., CAÑADAS, P., PÉREZ, J, DE LA HOZ, L, CAÑADAS, M. (2011). “Restauración de Cubiertas y Fachadas. Teatro Vicó. Jumilla”. En XXII Jornadas de Patrimonio Cultural de las Region de Murcia, Melgares, J. A., Collado, P. E., Bascuñana, J. A (coord..). Murcia. Ed. Tres Fronteras. Consejería de Cultura y Turismo, pp. 259-274.
DU PUY DU GREZ, B. (1700). Traité sur la peinture pour en apprendre la theorie & le perfectonnerdans la pratique, (1ª ed. de 1699, París). París : Florentin et Pierre Delaulne.
EASTAUGH, N, WALSH, V, CHAPLIN, T, SIDDALL, R. (2004). Pigment Compendium. A dictionary of Historical Pigments. Oxford: Elsevier Butterworth-Heinemann.
GARCÍA,M. (2013). “Oficios del pintor en el siglo XIX” en María del Carmen Lacarra (Coord.): Arte del siglo XIX, Zaragoza: Institución Fernando el Católico.
MANAUT, J. (1959). Técnica del arte de la pintura o Libro de la pintura. Madrid: Dossat.
MOYNET, M. J. (1999). El teatro por dentro; maquinaria y decoraciones. (1ª ed. 1873 vers. esp. de Cecilio Navarro de 1885. Primera ed. facs.). Madrid: Asociación de Directores de Escena de España.
MUÑOZ, A. (2018). La conservación de bienes culturales en Murcia en el S XIX.Tesis Doctoral. Universidad de Murcia. Escuela Internacional de Doctorado. Disponible en: https://digitum.um.es/.../Amparo%20Muñoz%20Fernández%20Tesis%20Doctoral.pdf [Consulta: 24-07-2019].
PERNETY, A. J. (1757). Dictionnaire protatif de peinture, sculpture et gravure. París: Libraire, Quai des Augustins, à SainteGenevieve, & à S Jean dans le Désert.
RADIGALES Y BABI, J. (1998). Els orígens del gran teatre del Liceu (1837-1847). Barcelona: Publicacions de l´Abadia de Montserrat.
RUSSELL, C. A. (ed.) (2000). Chemistry, Society and Environment. A New History of the British Chemical Industry, England: The Royal Society of Chemistry.
SAN ANDRÉS, M., SANCHO, N., DE LA ROJA, J. M. (2010). “Alquimia. Pigmentos y Colorantes Históricos”, Anales de Química, 106, pp.58-65.
SAN ANDRÉS, M. (2010). “Química Moderna y Producción de Nuevos Pigmentos”. En Fatto d´Arquimia. Historia e identificación de pigmentos artificiales en las técnicas pictóricas. Madrid: Secretaría General Técnica. Subdirección General de Publicaciones, Información y Documentación (Ministerio de Cultura), Madrid, pp.27-54.
SANTOS, S., SAN ANDRÉS, M. (2004), “La pintura de sargas”, Archivo Español de Arte, 305, pp.59-74.
SANTOS, S. (2017). “Las sargas y otros modos de temple: estudio comparativo experimental”, revista ph, 92, pp. 192-209.
VERNON-SMITH, H. (2013). “The changing practice of scenic painters in England”. En Setting the scene, Costaras, N, Young, (eds.). Plymouth: Archetype Publications, pp. 92-98.
WATIN, J. F. (1793). L' art du Peinture, Doreur, Vernisseur , (first ed. 1772). Quatrieme édition. París : Chez L` Auteur, rue Sainte-Apolline.
- Copyright and intellectual property belongs to author. Author guarantees editing and publishing rights to Ge-Conservación Journal, under a Creative Commons Attribution License. This license allows others to share the work with authorship and the original source of publication acknowledgement.
- Articles can be used for scientific and educational purposes but never for commercial use, being sanctioned by law.
- The whole content of the article is author’s responsibility.
- Ge-Conservación Journal and authors may establish additional agreements for non-exclusive distribution of the work version published at the Journal (for example, on institutional repositories or on a book) with acknowledgment of the original publication on this Journal.
- Author is allowed and encouraged to disseminate his works electronically (for example, on institutional repositories or on its own website) after being published on Ge-Conservación Journal. This will contribute for fruitful interchanges as also for wider and earlier citations of the author’s works.
- Author’s personal data will only be used for the Journal purposes and will not be given to others.