Publication: Soportes de madera en la pintura flamenca del siglo XVII en el Museo del Prado. Caracterización y estudio dendrocronológico
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2017-06-23
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Abstract
El estudio de los materiales y técnicas artísticas es una disciplina de interés creciente para la historia del arte y la conservación. En los últimos años, los distintos campos de la ciencia han ido adaptando paulatinamente sus metodologías y técnicas de análisis al estudio de las obras de arte, optimizando sus protocolos y formas de trabajo para enfrentarse a estos objetos, excepcionalmente valiosos y únicos. Uno de los campos en que el análisis científico ha demostrado su utilidad es el del estudio de los soportes y, concretamente, el de las tablas de madera. La colección del Museo del Prado incluye un gran número de pinturas sobre tabla y una parte de ellas corresponde a artistas activos en la ciudad de Amberes durante el siglo XVII. La madera era el material más utilizado para la construcción de soportes para pintar, elaborados de acuerdo a un riguroso procedimiento por un grupo de profesionales especialistas; los tafereelmakers o paneelmakers. Estos artesanos eran miembros activos del gremio de San Lucas, que agrupaba diversas profesiones relacionadas con la fabricación de objetos artísticos. Las normativas del gremio establecían una serie de obligaciones encaminadas a asegurar la buena calidad del producto final y trataban también de evitar el intrusismo profesional. En este sentido, la regulación publicada en 1617 en la ciudad de Amberes establecía la obligatoriedad de observar una serie de pautas relativas a la calidad de la madera utilizada o los formatos autorizados, obligando también a estampar la marca personal del fabricante y a pasar una inspección del propio gremio antes de poder comercializar el soporte terminado...
The study of materials and techniques in art is a discipline of increasing interest to art history and conservation. Researchers have gradually adapted techniques of analysis and examination developed in other scientific fields to the study of works of art, optimizing protocols and working methods to deal with unique and exceptionally valuable artifacts. One of the many fields in which scientific analysis has proved very useful is the study of supports, and specifically, for panel paintings. The Flemish paintings collection of the Museo del Prado includes a large number of paintings on wooden supports, several of which are panels by Flemish painters active in Antwerp in the first half of the seventeenth century. Wood was one of the preferred materials in this school for the construction of painting supports, which were manufactured according to a rigorous procedure by professional specialists: the tafereelmakers or paneelmakers. Antwerp panel makers were members of the Guild of Saint Luke, as were other professionals whose work related to the production of art objects. Guild regulations were quite explicit regarding panel manufacture, establishing mandatory practices in an attempt to guarantee the quality of the final product and to avoid the unauthorized practice of the profession. For instance, regulations published in 1617 stated some mandatory rules related to wood quality and compelled panel makers to mark finished panels with their personal brands. Guild inspectors were supposed to check the quality of the product before it was offered for sale...
The study of materials and techniques in art is a discipline of increasing interest to art history and conservation. Researchers have gradually adapted techniques of analysis and examination developed in other scientific fields to the study of works of art, optimizing protocols and working methods to deal with unique and exceptionally valuable artifacts. One of the many fields in which scientific analysis has proved very useful is the study of supports, and specifically, for panel paintings. The Flemish paintings collection of the Museo del Prado includes a large number of paintings on wooden supports, several of which are panels by Flemish painters active in Antwerp in the first half of the seventeenth century. Wood was one of the preferred materials in this school for the construction of painting supports, which were manufactured according to a rigorous procedure by professional specialists: the tafereelmakers or paneelmakers. Antwerp panel makers were members of the Guild of Saint Luke, as were other professionals whose work related to the production of art objects. Guild regulations were quite explicit regarding panel manufacture, establishing mandatory practices in an attempt to guarantee the quality of the final product and to avoid the unauthorized practice of the profession. For instance, regulations published in 1617 stated some mandatory rules related to wood quality and compelled panel makers to mark finished panels with their personal brands. Guild inspectors were supposed to check the quality of the product before it was offered for sale...
Description
Tesis inédita de la Universidad Complutense de Madrid, Facultad de Bellas Artes, Departamento de Pintura, leída el 18 de noviembre de 2016; presidente, Margarita San Andrés Moya