Abstract
The purpose of this article is to establish a comparative analysis between the
technical procedures expressed by the painters of the Granada Baroque School and the theoretical precepts collected by Palomino in his Treatise The Pictorial Museum and Optical Scale.
We focus this study on the analysis of the technical reflections collected,
theoretically, by Palomino and the artistic procedures put into
practice by the Granada baroque painters in the creation of their works, describing the materialization of their resources and recipes and their similarity or discrepancy with the empirical and theorizing precepts of the writer. We use as
source the information obtained through the technical-scientific examination of the paintings of the Museum of Fine Arts of Granada from their tratigraphic sequences. Said stratigraphies have been analyzed with optical microscopy and scanning electron microscopy (SEM-EDX), techniques that allow the completion of their internal structure and the identification of the pigments and fillers used.
For a better understanding, we propose this reflection following the characteristic structuring of a painting on canvas, with the description of the nature and configuration of the support, its suitability to receive the superimposed layers, the type of preparatory drawing and the definition and constitution of the layers. of color and superficial glazes.