The article focuses on the analysis of a former altarpiece from the Goa Cathedral attributed to Garcia Fernandes, a prominent figure in Portuguese painting. Through stylistic comparisons and the study of underdrawings, the research aims to uncover influences from both north and south-European art traditions.
Various techniques, including Macro Photography, Infrared Reflectography, and Infrared Photography, were employed to detect underdrawings and stylistic similarities in the paintings. The collaborative works and individual contracts associated with Garcia Fernandes shed light on his creative process and technical skills.
The study reveals a certain rigidity of rules in the artistic context, allowing artists like Garcia Fernandes to express themselves “unseen” through underdrawings. By examining details of the chromatic layers and utilising advanced imaging technologies, the researchers were able to delve into the intricate details of the paintings and compare them with other works attributed to Garcia Fernandes.
The findings suggest a deeper understanding of the hierarchy of collaboration between Garcia Fernandes and other painters, such as Gregório Lopes and Cristóvão de Figueiredo. The article highlights the importance of collaborative works in revealing the individualised stylistic characteristics of artists and provides insights into Garcia Fernandes’ technical and creative processes. Overall, the study contributes to a better understanding of Garcia Fernandes’ artistic legacy and his contributions to Portuguese painting during the 16th century.
