Carolina Barata
Portuguese Catholic University, Citar, Department Member
- University of Aveiro, GeoBioTec, Department Memberadd
- Carolina Barata holds a degree in Art Conservation and Restoration (Instituto Politécnico de Tomar), a postgraduate d... moreCarolina Barata holds a degree in Art Conservation and Restoration (Instituto Politécnico de Tomar), a postgraduate degree in Art Expertise (School of Decorative Arts of the Fundação Ricardo Espirito Santo Silva), a Master in Applied Chemistry (Faculty of Sciences, Universidade de Lisboa) and a PhD in Geosciences (Department of Geosciences, Universidade de Aveiro).
She started her professional career in 1996, in Lisbon, in the field of conservation and restoration of easel painting, sculpture and wood carving, working in several private workshops. She also joined projects in photography collections conservation, such as the one in the Photography Archive of the Municipality of Lisbon, during the year of 2001.
Throughout her activity, she has attended several refreshment courses which contributed to the improvement of her performance.
From 2002 to 2006 she has been a professional trainer in the field of Conservation and Restoration of Easel Painting, in the Project Tecnologias developed by the Italian Chamber of Commerce, in Oporto.
From September 2005 to August 2018, she integrated the School of Arts of the Portuguese Catholic University, in Oporto, where she has been a lecturer at the Bachelor, Master and PhD degrees. She has coordinated the MSc in Conservation and Restoration of Cultural Heritage from February 2016 to August 2018.
She is a member of the Research Center for Science and Technology in Arts (CITAR, Universidade Católica) and the Research Center GeoBioTec (Universidade de Aveiro).
She coordinates ARCAer Project at Museu Nacional do Azulejo since January 2018.edit
This article describes the conservation and restoration treatments as well as the historical and analytical study carried out on four reliquary busts from the former Monastery of Madre de Deus, in Lisbon, currently the National Azulejo... more
This article describes the conservation and restoration treatments as well as the historical and analytical study carried out on four reliquary busts from the former Monastery of Madre de Deus, in Lisbon, currently the National Azulejo Museum. These reliquaries belong to a collection composed of forty-five reliquary busts, which represent a unique and practically intact set and has dated busts from the late 16 th century until late 17 th century. The analytical results obtained suggest that the four busts were produced according to the art treatises of the time and the identified materials meet the materials that would be used in that period. Resumo O presente artigo descreve os tratamentos de conservação e o estudo histórico e analítico realizado sobre quatro bustos-relicários pertencentes ao Mosteiro da Madre de Deus, em Lisboa, atualmente o Museu Nacional do Azulejo. Estes relicários pertencem a uma coleção composta por quarenta e cinco bustos-relicários, que representa um conjunto praticamente íntegro e único, e que contém bustos datados desde finais do século dezasseis até finais do século dezassete. Os resultados do estudo analítico sugerem que os quatro bustos terão sido produzidos de acordo com os tratados artísticos da época de produção, e os materiais identificados vão ao encontro dos que seriam utilizados naquele período.
Research Interests:
The retable located in the Chapel of Our Lady of Mercy, in the cloisters of Oporto's cathedral, dates back to the 17th century. Artistically, it belongs to a transition period between the Mannerism and the Baroque styles. The artistic... more
The retable located in the Chapel of Our Lady of Mercy, in the cloisters of Oporto's cathedral, dates back to the 17th century. Artistically, it belongs to a transition period between the Mannerism and the Baroque styles. The artistic value and the lack of documented information about the artwork led to the development of a project contemplating its the study. Both chemical and physical analyses-observation of the support, micro-FTIR and SEM-EDS-suggest that the retable was carved in sweet chestnut wood, accordingly to the techniques used at the time. The retable presents water-gilded areas contrasting with blue and red phytomorphic motifs. The polychromed areas were later covered with lead white paint. There were also evidences of previous conservation-restoration interventions. The frail condition of the retable's materials testified the need to conserve and restore it. Among other procedures, the materials were consolidated and the lacunae were filled and inpainted-partially regenerating the artwork's aesthetic unity.
Research Interests:
This work presents a part of a research project on retouching gelatin glass plate photographic negatives, its intentions, impact of the practice on the image and object and its current state of conservation. This is a case study on the... more
This work presents a part of a research project on retouching gelatin glass plate photographic negatives, its intentions, impact of the practice on the image and object and its current state of conservation. This is a case study on the use of retouching techniques on a scientific collection belonging to the former Dr. Mendes Correia Anthropology Institute, of the Natural History and Science Museum-University of Porto (MHNC-UP). In scientific photography there is a need for a rigorous record and true representation, which sets apart this type of photographic collection from others. Any alterations, such as retouching, should therefore have little or none aesthetic intentions. Retouched negatives were identified in this scientific and academic collection, and allowed to ascertain the purpose of their use and support the need for its preservation. Resumen: Este trabajo presenta una parte del proyecto de investigación sobre el retoque de negativos fotográficos de gelatina y sales de plata sobre placas de vidrio, intenciones, impacto de la práctica en la imagen y objeto y su estado de conservación. Éste es un estudio de caso del uso de las técnicas de retoque en una colección científica, de aquél que fue el Instituto de Antropología Dr. Mendes Correia, del Museo de la Historia Natural y de la Ciencia de la Universidad de Porto (MHNC-UP). En la fotografía científica es necesario un registro riguroso, la representación de la verdad, lo que diferencia este tipo de colección fotográfica de otras. Cualquier alteración, como el retoque, debe tener, por lo tanto, poca o ninguna intención estética. Se identificaron negativos retocados en esta colección científica y académica, lo que permite que se compruebe el propósito de su uso y la necesidad de su preservación. Resumo: Este trabalho apresenta parte do projecto de investigação sobre o retoque de negativos fotográficos de gelatina e prata em suporte de vidro, intenções, impacto desta prática na imagem e objecto e o seu estado de conservação. Este é um estudo de caso do uso das técnicas de retoque numa colecção de carácter científico, do antigo Instituto de Antropologia Dr. Mendes Correia, do museu de Historia Natural e da Ciência da Universidade de Porto (MHNC-UP). Na fotografia científica há a necessidade de um registo rigoroso e a representação da verdade, o que diferencia este tipo de colecção fotográfica de outras. Qualquer alteração, como o retoque, deve portanto ter mínimas ou nenhumas intenções estéticas. Identificaram-se negativos retocados nesta colecção científica e académica, o que permitiu comprovar o propósito de seu uso e a necessidade da sua preservação.
Research Interests:
Resumo A intervenção de conservação e restauro de um estojo de faqueiro do século XVIII e o seu estudo histórico, material e técnico permitiram, não só restituir a integridade física e a função original do objeto, mas também aprofundar o... more
Resumo A intervenção de conservação e restauro de um estojo de faqueiro do século XVIII e o seu estudo histórico, material e técnico permitiram, não só restituir a integridade física e a função original do objeto, mas também aprofundar o conhecimento que se detém atualmente sobre os materiais e sistema construtivo deste tipo de mobiliário de conter, o qual materializa um importante testemunho das regras de etiqueta à mesa desenvolvidas na sociedade portuguesa de Setecentos, por influência da corte francesa de Luís XIV. O presente artigo pretende descrever o enquadramento histórico e estético em que este móvel surgiu, bem como as suas características técnicas e materiais com base nos resultados de análises laboratoriais. Palavras-chave: móvel de conter; estojo de faqueiro; estudo analítico; conservação e restauro. Abstract The intervention of conservation and restoration of an eighteenth century cutlery case and its historical, material and technical study, allowed not only to restore the physical integrity and original function of the case, but also to deepen the knowledge about the materials and constructive system of the storage furniture, which embodies an important testimony of the table etiquette developed in the Portuguese society of the eighteenth century, under the influence of the French court of Louis XIV. This article aims to describe the historical and aesthetical context in which this piece has emerged and its material and technical features based on the results of the laboratorial analysis that were performed.
Research Interests:
The crucified Bom Jesus de Matosinhos, probably dating from the end of the twelfth or beginning of the thirteenth century, is one of the core group of oldest existing sculptures of crucifixions in Portugal. The main goal of this project... more
The crucified Bom Jesus de Matosinhos, probably dating from the end of the twelfth or beginning of the thirteenth
century, is one of the core group of oldest existing sculptures of crucifixions in Portugal. The main goal of this
project was the technical study of the sculpture and the conservation of both its structural and its polychrome layers.
The study of the support involved the use of X-radiography, Computerised Tomography (CAT), and the collection
of samples for radiocarbon dating by Accelerator Mass Spectrometry (AMS). Optical Microscopy (OM) was used to
identify the wood species and study the polychrome layers. Portable X-ray Fluorescence (pXRF) and Scanning
Electron Microscopy equipped with an Energy Dispersive X-ray Spectrometer (SEM-EDX) were used for the
identification of pigments and fillers and the characterisation of ground and polychrome layers. The carved wooden
support is made of willow (Genus Salix). The use of this wood species has not been found elsewhere in Portugal as
a support for other sculptures, easel paintings or retables. As for the materials identified in the original polychrome
layers, the use of kaolinite in the ground layer and lead white with minium for the flesh tones must be highlighted. A
significant number of overpaints were applied to the body, hair and the loincloth areas. The different decorative
interpretations found mostly on the loincloth are particularly interesting.
century, is one of the core group of oldest existing sculptures of crucifixions in Portugal. The main goal of this
project was the technical study of the sculpture and the conservation of both its structural and its polychrome layers.
The study of the support involved the use of X-radiography, Computerised Tomography (CAT), and the collection
of samples for radiocarbon dating by Accelerator Mass Spectrometry (AMS). Optical Microscopy (OM) was used to
identify the wood species and study the polychrome layers. Portable X-ray Fluorescence (pXRF) and Scanning
Electron Microscopy equipped with an Energy Dispersive X-ray Spectrometer (SEM-EDX) were used for the
identification of pigments and fillers and the characterisation of ground and polychrome layers. The carved wooden
support is made of willow (Genus Salix). The use of this wood species has not been found elsewhere in Portugal as
a support for other sculptures, easel paintings or retables. As for the materials identified in the original polychrome
layers, the use of kaolinite in the ground layer and lead white with minium for the flesh tones must be highlighted. A
significant number of overpaints were applied to the body, hair and the loincloth areas. The different decorative
interpretations found mostly on the loincloth are particularly interesting.
Research Interests:
This paper focus on a private portrait photographic negatives collection belonging to Foto-Carvalho, a photo-graphic studio of Estremoz (north of Alentejo, Portugal). It explores the techniques, materials, and reasons behind retouching on... more
This paper focus on a private portrait photographic negatives collection belonging to Foto-Carvalho, a photo-graphic studio of Estremoz (north of Alentejo, Portugal). It explores the techniques, materials, and reasons behind retouching on photographic negatives; also, the validity of retouching in the search for the photographic truth. Studying dry plate photographic negatives from lesser-known collections is a special opportunity to take a closer look to a time and a place. This case study on a Portuguese community will bring new and valued insights to portrait photography and contributions to visual culture of the first half of the 20th century.
Research Interests:
This paper focuses on a collection of reliquary busts integrated in the reliquary sanctuary of Madre de Deus Convent. It explores the ARCAer project which will address this set through its historical, stylistic and iconological study. It... more
This paper focuses on a collection of reliquary busts integrated in the reliquary sanctuary of Madre de Deus Convent. It explores the ARCAer project which will address this set through its historical, stylistic and iconological study. It will include laboratory analysis of the materials and technologies associated with the production of the sculptures with the intend of establishing affinities and differences between the several objects, which may bring clarification about their origins, their ordering process and the conservation treatment of the set. It is intended to recover the works and relocate them in their original places, resuming an integrated discourse that was lost. Also, the project aims to reflect upon the human drive to preserve material memories, establishing parallels with our days.