La pintura de sargas

Abstract

Se describe, de acuerdo a la información que aportan ordenanzas y tratados artísticos, los procesos seguidos en la ejecución de las sargas, un tipo de temple sobre lienzo ejecutado abundantemente durante el siglo XVI en España. El presente estudio pone, además, de manifiesto, los puntos de divergencia y paralelismos con otras obras ejecutadas de manera similar.Palabras clave: Sarga, pintura al temple, lienzo.The authors describe, following information found in ordinances and artistic treatises, the processes used in creating sargas, a type of painting in tempera on cloth widely carried out in sixteenth-century Spain. In addition, they examine the points of divergence as well as parallels with other works executed in a similar manner.

Ge-conservación Nº18

“…The preparation of samples was based on historic recipes employed to paint sargas cited in treatises of Felipe Nuñez (cited in Véliz 1986) and Francisco Pacheco ( 1649), as well as on recent articles that describe methodologies to recreate matte powdery paint samples (Hansen et al 1993;Michalski et al 1998;Geiger and Michel 2005). In their preparation it was taken into account that despite some artworks present a ground, usually those belonging to the 14 th and 15 th centuries, the Ordenanzas de Madrid of 1543 (cited in Santos an San Andrés 2004) and authors such as Nuñez (cited in Véliz 1986), Vasari, Volpato (both cited in Santos and San Andrés 2004) and Palomino (1715-24) do not consider this procedure in their making process. Even Francisco Pacheco in his treatise El Arte de la Pintura (1649) alludes to their bad effects in long term.…”

“…Their execution increased greatly in the 15 th and 16th centuries, before beginning to decline when the use of oil became more popular in painting. In this geographic area there was an intensive production process, which was practically industrial and was exported to other places such as England, Italy and Spain (Levenfield 1992; Santos and San Andrés 2004). However, this type of painting technique, mainly Lenten veils, became practically extinct in England after the Reformation in the time of Henry VIII while in Germany and its zone of influence the production was interrupted after the Lutheran Reform.…”

An investigation into adhesives to consolidate distemper paintings on canvas

“…Their execution increased greatly in the 15 th and 16th centuries, before beginning to decline when the use of oil became more popular in painting. In this geographic area there was an intensive production process, which was practically industrial and was exported to other places such as England, Italy and Spain (Levenfield 1992;Santos and San Andrés 2004). However, this type of painting technique, mainly Lenten veils, became practically extinct in England after the Reformation in the time of Henry VIII while in Germany and its zone of influence the production was interrupted after the Lutheran Reform.…”