El Retoque en la Fotografía Científica – La Colección de Negativos de Vidrio del Museo de Historia Natural e de la Ciencia – Universidad de Porto

Catarina Luísa Cortes Pereira; Carolina Barata; Rita Gaspar; Laura Castro

doi:10.37558/gec.v12i0.540

Catarina Luísa Cortes Pereira School of Arts, CITAR Portuguese Catholic University (Porto), Porto, Portugal http://orcid.org/0000-0003-0926-1154
Carolina Barata School of Arts, CITAR Portuguese Catholic University (Porto), Porto, Portugal http://orcid.org/0000-0003-3379-1905
Rita Gaspar Natural History and Science Museum of the University of Porto http://orcid.org/0000-0003-1546-6332
Laura Castro School of Arts, CITAR Portuguese Catholic University (Porto), Porto, Portugal http://orcid.org/0000-0002-8470-2557

DOI: https://doi.org/10.37558/gec.v12i0.540

Keywords: fotografía, negativos en vidrio, retoque, máscaras, colección, antropología, historia, ciencia

Abstract

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.

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Author Biographies

Catarina Luísa Cortes Pereira, School of Arts, CITAR Portuguese Catholic University (Porto), Porto, Portugal

Presently a Researcher and PhD student at the School of Arts, CITAR, Catholic University of Porto. Has a Master in Science in Conservation by Nova of Lisbon in 2013 and a degree in Art - Conservation and Restoration of Paintings by School of Arts, UCP in 2007. Fellow in Conservation and Restoration at the Laboratory HERCULES, University of Ã‰vora from 2013 to 2015. In Spain, 2009, she obtained training and internship at the Conservation and Restoration Institute of Valencia in the Documents department.

Carolina Barata, School of Arts, CITAR Portuguese Catholic University (Porto), Porto, Portugal

Degree in Conservation and Restoration, and post-graduation in Art Expertise, Master’s degree in Applied Chemistry and a PhD in Geosciences. She started her professional activity in 1996 having joined several working teams in the field of Easel Painting, wooden Sculpture and Photography collections Conservation. Since 2005 lecturer and a researcher at the School of Arts of the Portuguese Catholic University (EA/UCP). Since 2016 coordinator of the Master’s Degree in Conservation and Restoration in the same School. Member of the Research Center for Science and Technology of the Arts (CITAR) at EA/UCP and of the Research Center of Geobiosciences, Geotechnologies and Geoengineering (GeoBioTec) of the University of Aveiro.
http://orcid.org/0000-0003-3379-1905

Rita Gaspar, Natural History and Science Museum of the University of Porto

Degree in History – Archeology from the Faculty of Arts of the University of Lisbon in 2002, holds a Master degree in Geoarchaeology from the Faculty of Science of University of Lisbon in 2008. Coordinator of several archaeological interventions, one of mention, the coordination of the Study of the Pre-History at the Vale do Sabor. Since 2015 is responsible for the Archeology, Ethnography and Physics Anthropology departments of the Natural History and Science Museum of the University of Porto.
http://orcid.org/0000-0003-1546-6332

Laura Castro, School of Arts, CITAR Portuguese Catholic University (Porto), Porto, Portugal

Director of the School of Arts of the Portuguese Catholic University where she also theaches. Researcher at the Research Center for Science and Technology of the Arts (CITAR) in the same School. Has a PhD from the Faculty of Fine Arts of the University of Porto in 2010 and Master in Art History from the Faculty of Social Sciences and Humanities of the Nova of Lisbon in 1993 and a degree in the same area by the Faculty of Arts of the University of Porto in 1985. Member of the Portuguese Association of Art Historians and of the International Association of Art Critics.
http://orcid.org/0000-0002-8470-2557.

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