Publication: Técnicas y materiales de la pintura mural barroca en Sevilla
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Román Sánchez, Carmen
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Abstract
En la pintura mural de la Sevilla del siglo XVIII destacaron dos grandes conocedores del dibujo arquitectónico, Lucas Valdés y Domingo Martínez que, entre otros méritos, incorporaron la cuadratura como sistema de composición constatando la influencia de la Perspectiva pictorum et architectorum del Padre Pozzo, y elevando la pintura mural ilusionista del barroco sevillano a su máximo exponente. Con el objetivo de conocer los materiales, técnicas y procedimientos utilizados por Valdés y Martínez, se profundiza
en el modus operandi que seguían estos artistas a través de la lectura de los diversos
tratados de pintura y del estudio de los resultados de investigaciones recientes, como los obtenidos en las intervenciones de las pinturas murales de Domingo Martínez en el Museo de Bellas Artes y las pinturas murales del conjunto de San Luis de los Franceses y la capilla del palacio de San Telmo de Valdés y Martínez.
Two great connoisseurs of architectural drawing stood out in mural painting of the 18th-century of Seville: Lucas Valdés and Domingo Martínez, who, among other merits, incorporated the quadrature as a composition system highlighting the influence of the Perspective pictorum et architectorum of Father Pozzo, and raising the illusionist mural painting of the Sevillian baroque to its maximum exponent.With the objective of knowing the materials, techniques and procedures used by Valdés and Martínez, we will delve into the modus operandi followed by these artists through the reading of the various painting treatises and the study of the results of recent research, such as those obtained in the interventions of the mural paintings of Domingo Martínez in the Museum of Fine Arts and the mural paintings of the architectural ensemble of San Luis de los Franceses and the chapel of the Palace of San Telmo painted by Valdés and Martínez.
Two great connoisseurs of architectural drawing stood out in mural painting of the 18th-century of Seville: Lucas Valdés and Domingo Martínez, who, among other merits, incorporated the quadrature as a composition system highlighting the influence of the Perspective pictorum et architectorum of Father Pozzo, and raising the illusionist mural painting of the Sevillian baroque to its maximum exponent.With the objective of knowing the materials, techniques and procedures used by Valdés and Martínez, we will delve into the modus operandi followed by these artists through the reading of the various painting treatises and the study of the results of recent research, such as those obtained in the interventions of the mural paintings of Domingo Martínez in the Museum of Fine Arts and the mural paintings of the architectural ensemble of San Luis de los Franceses and the chapel of the Palace of San Telmo painted by Valdés and Martínez.