The article delves into the Italian influence present in a Portuguese Mannerist painting, specifically focusing on the work of Pedro Nunes, a Portuguese artist who painted “The Descent from the Cross” in 1620. Nunes, trained in Rome, incorporated Italian formal influences into his work, showcasing a clear departure from mainstream Portuguese painting practices of the time. The study meticulously examines the technical aspects of the painting, including the support, preparatory layers, and paint application techniques.
Through a detailed analysis of the painting’s materials and techniques, the research sheds light on Nunes’ innovative approach to handling colour and depicting complex fabrics like cambiante. The study reveals Nunes’ use of unconventional layering systems and pigment mixtures, showcasing his technical prowess and international artistic influences acquired during his time in Rome.
The investigation involves in-depth examinations under visible, ultraviolet, and infrared radiation, as well as the collection and analysis of paint samples using microscopic and spectroscopic techniques. By exploring Nunes’ unique painting methods, such as glazing, scumbling, wet-in-wet, and wet-in-dry painting, the study highlights his versatility and skill in manipulating pigments to achieve a wide range of tonal values and visual effects.
Overall, the article provides valuable insights into Pedro Nunes’ artistic techniques, emphasising his departure from traditional Portuguese painting practices and his incorporation of innovative Italian-inspired methods. The research contributes to a deeper understanding of Nunes’ work and his significant role in bridging Italian and Portuguese artistic influences during the Mannerist period.
