Nuevas emulsiones y medios aglutinantes para pintura artística

Abstract

En este artículo describimos los estudios y bases metodológicas de la línea de investigación Nuevos Materiales en la Pintura Artística. Durante los últimos años hemos trabajado en tres Proyectos de I+D+i, articulando una investigación tecno-pictórica motivada en sus beneficios medioambientales, ecológicos y sanitarios. Nuestros materiales nuevos ofrecen libertad excepcional en el uso del diluyente, proveyendo altos valores plásticos y expresivos. Actualmente tenemos registradas dos patentes de invención que cubren un amplio espectro de contribuciones en la acción procedimental, originando derivaciones estéticas cercanas a los temples grasos y perfeccionando su actuación miscible. Mediante la realización de estas nuevas formulaciones con propiedades anfifílicas aportamos a la pintura artística una nueva y eficaz generación de aglutinantes en emulsión. Materiales artísticos que no deben entenderse únicamente como alternativos en lo referido a su salubridad, sino que contienen altas prestaciones procedimentales y abren un sinfín de nuevas posibilidades estético-plásticas.

New emulsions and binder mediums for artistic painting». In this article we describe the studies and methodological bases of the research line New Materials in the Artistic Paint. Over the Iast years we have worked on three R+D+i Projects, carrying out technical-pictorial research driven by its environmental, ecological and sanitary benefits. Our new materials offer exceptional freedom in the use of the thinner, providing high plastic and expressive values. Currently we have two registered invention patents covering a broad range of contributions to the procedural aspect, giving rise to aesthetic derivations that approximate tempera grassa and improve its performance miscible. Through the embodiment of these new formulations with anphiphilic properties, we provide artistic painting with new and efficient generation emulsions binder. Artistic matenals that should not be considered mere alternatives in heafth terms, rather ones that offer high performances in terms of procedure and open up endless new aesthetic and plastic possibilities

«Analysis of two works with split vanishing points (P aolo Uccello and Ercole de Roberti) and the implication of this resource of perspective on 20th century artists». The study centres on two works by Paolo Uccello (1397-1475) and Ercole de Roberti (1451-1496), two predella respectively, produced in the rapture of the origins of perspective. The study reconstructs the structure of the perspective in order to reveal the strategies adopted by the two artists, in the context of the rules governing the new science and that emphasise the polarity existing, even then, between a «natural» concept of perspective and the merely «mathematical» concept, which rigidly applied comes into conflict with the artist’s creativity and with certain visual conditions. Finally, we study the use of the same resource in several contemporary works demonstrating the confluence of 20th century freedom of expression with the tradition of perspective drawing, under the influence of the system most intuitive and visual component.