Nuno Saldanha
Universidade Europeia, Iade, Department Member
- Art History - 18th and 19th century Painting, Iconography, Photography, Naval Architecture (History), Naval Architecture, Naval Warfare, and 12 moreShipbuilding, Museologia, Women Artists, Realismo, Naturalismo, 18th Century French Painting, Art History, Aesthetics, Art Theory, 18th Century Art, Paragone, and Historyedit
- Art Historian with extensive published work, particularly in the fields of History of Painting, Art Theory, Iconograp... moreArt Historian with extensive published work, particularly in the fields of History of Painting, Art Theory, Iconography, and History of Naval Architecture, in the 18th and 19th centuries. He holds a PhD in Art History from Universidade Católica Portuguesa and a M.A. degree in Cultural and Political History (History of Aesthetic Ideas) from Universidade Nova de Lisboa. Associate Professor at IADE- Faculdade de Design, Tecnologia e Comunicação/Universidade Europeia. Researcher at the Center of History of the University of Lisbon, and Associate researcher at CHAM/U.N.L. In the area of museology, he was Chief Curator at Galeria Rei D. Luís/Palácio Nacional da Ajuda, Management Advisor at Museu Ricardo do Espírito Santo Silva, Director at Casa-Museu dos Patudos, and Curator of several exhibitions.
Academic of the National Academy of Fine Art and Academia de Marinha.edit
This work aims to provide some contributions to the study of Portuguese royal patronage in the 18th century, undoubtedly one of the richest periods in our Art History, given its extensive scope, which went beyond national borders,... more
This work aims to provide some contributions to the study of Portuguese royal patronage in the 18th century, undoubtedly one of the richest periods in our Art History, given its extensive scope, which went beyond national borders, spreading throughout Europe at that time.
Indeed, as is well known, the magnificent cultural policy that began to unfold from the late 17th century and reached its climax during the reign of King John V extended to Italy, France, Austria, Belgium, and the Netherlands, in an unparalleled process of Portuguese patronage, encompassing almost all areas of artistic production.
We will begin our study with an analysis of the Italo-Roman environment at the end of the 17th century and the beginning of the 18th century, in order to understand how King John V could penetrate an environment of patronage characterized throughout the Modern Age by exclusivity and papal monopoly.
Then, having found the archetype and the conditions for its access, it was important to seek sources and guiding models that could support the sovereign's choices in his patronage and sponsorship policy. These will fundamentally be the Society of Jesus and the Arcadia, as we shall see.
Another highly relevant aspect of this work is the discovery of the beginning of Agostino Masucci's activity for Portugal, long before his participation in the pictorial decoration of Mafra in 1729, and the Jesuits' sponsorship of his first collaboration in 1718.
Indeed, as is well known, the magnificent cultural policy that began to unfold from the late 17th century and reached its climax during the reign of King John V extended to Italy, France, Austria, Belgium, and the Netherlands, in an unparalleled process of Portuguese patronage, encompassing almost all areas of artistic production.
We will begin our study with an analysis of the Italo-Roman environment at the end of the 17th century and the beginning of the 18th century, in order to understand how King John V could penetrate an environment of patronage characterized throughout the Modern Age by exclusivity and papal monopoly.
Then, having found the archetype and the conditions for its access, it was important to seek sources and guiding models that could support the sovereign's choices in his patronage and sponsorship policy. These will fundamentally be the Society of Jesus and the Arcadia, as we shall see.
Another highly relevant aspect of this work is the discovery of the beginning of Agostino Masucci's activity for Portugal, long before his participation in the pictorial decoration of Mafra in 1729, and the Jesuits' sponsorship of his first collaboration in 1718.
Research Interests:
The gallery of portraits of presidents of the Supreme Court of Justice: an introduction”, Isabel Drumond Braga (coord.), 190 Anos do Supremo Tribunal de Justiça: arte e património / 190 years of the Supreme Court of Justice: art and heritage, Lisboa: Supremo Tribunal de Justiça, 2023, pp. 210-216.more
Research Interests:
It is true that few would associate José Malhoa, the great master of genre, landscape, and portrait painting, with history and allegorical painting. However, this theme also occupied a significant part of his picture production, as... more
It is true that few would associate José Malhoa, the great
master of genre, landscape, and portrait painting, with history
and allegorical painting. However, this theme also occupied
a significant part of his picture production, as evidenced by
the vast work already inventoried1. Actually, Malhoa was the
author of about a hundred historical paintings, mostly made up
of large decorative panels, in accordance with the taste of the
time, filling various spaces in public, commercial, and private
buildings.
master of genre, landscape, and portrait painting, with history
and allegorical painting. However, this theme also occupied
a significant part of his picture production, as evidenced by
the vast work already inventoried1. Actually, Malhoa was the
author of about a hundred historical paintings, mostly made up
of large decorative panels, in accordance with the taste of the
time, filling various spaces in public, commercial, and private
buildings.
Research Interests:
One of the aspects that increases the importance and interest of this piece is the uniqueness of Anthony’s iconography: the saint is wearing the choir dress of the Croisier canons instead of the popular Franciscan habit. This reveals how... more
One of the aspects that increases the importance and interest of this piece is the uniqueness of Anthony’s iconography: the saint is wearing the choir dress of the Croisier canons instead of the popular Franciscan habit. This reveals how much the originality of Saint Anthony’s Portuguese representation is generally unknown nationally and internationally, which has led to several misunderstandings in its iconographic reading.
Although it is a public and widely disseminated painting, at least since the mid-20th
century, it was systematically identified as The Apparition of Our Lady and Baby Jesus to Saint Domingo de Guzmán until recently.
Although it is a public and widely disseminated painting, at least since the mid-20th
century, it was systematically identified as The Apparition of Our Lady and Baby Jesus to Saint Domingo de Guzmán until recently.
Research Interests:
THE ROYAL BARGE. Gala Vessels of the Portuguese Royal House (1619-1818) - History, Models and Typologies Portugal is privileged to have one of the most unique collections of royal gala ships in the world. It is a unique set of six... more
THE ROYAL BARGE. Gala Vessels of the Portuguese Royal House (1619-1818) - History, Models and Typologies
Portugal is privileged to have one of the most unique collections of royal gala ships in the world. It is a unique set of six copies, originals from the 18th century and the beginning of the 19th century, which remained in use until the mid-20th century, becoming part, in 1962, of the collection of the Museu de Marinha, in Lisbon. Paradoxically, despite being the only surviving cases of ships from the 18th century, in most cases, the existing information is much lower than what is known about other ships that disappeared in the meantime. preservation, with the exception of the texts by Inácio de Vilhena Barbosa, António Marques Esparteiro, or Alberto Cutileiro, this extraordinary collection has not received the attention it deserves from scholars, as is the case with the global history of royal vessels throughout the Modern Age.
Portugal is privileged to have one of the most unique collections of royal gala ships in the world. It is a unique set of six copies, originals from the 18th century and the beginning of the 19th century, which remained in use until the mid-20th century, becoming part, in 1962, of the collection of the Museu de Marinha, in Lisbon. Paradoxically, despite being the only surviving cases of ships from the 18th century, in most cases, the existing information is much lower than what is known about other ships that disappeared in the meantime. preservation, with the exception of the texts by Inácio de Vilhena Barbosa, António Marques Esparteiro, or Alberto Cutileiro, this extraordinary collection has not received the attention it deserves from scholars, as is the case with the global history of royal vessels throughout the Modern Age.
Research Interests:
Although the name of Manuel de Araújo e Silva is not particularly known, as occurs with the majority of the 18th century’s Portuguese shipbuilders, his activity at the Baía’s shipyard was of particular significance. Despite ignored,... more
Although the name of Manuel de Araújo e Silva is not particularly known, as occurs with the majority of the 18th century’s Portuguese shipbuilders, his activity at the Baía’s shipyard was of particular significance.
Despite ignored, Manuel de Araújo constitutes an important testimony of two central circumstances for the knowledge of Luso-Brazilian Naval Architecture and shipbuilding. First, as the instrument of modernization and standardization policies of Portuguese Royal Navy, typologies, and construction systems, on both sides of the Atlantic, through the transfer of shipbuilders, models, and ship plans to the royal arsenals in Brazil. On the other hand, as protagonist in the implementation of the «English model», introduced in Lisbon shipyards of Ribeira da Naus, in the early 18th century, by the British shipbuilders, William and Francis Warden.
Despite ignored, Manuel de Araújo constitutes an important testimony of two central circumstances for the knowledge of Luso-Brazilian Naval Architecture and shipbuilding. First, as the instrument of modernization and standardization policies of Portuguese Royal Navy, typologies, and construction systems, on both sides of the Atlantic, through the transfer of shipbuilders, models, and ship plans to the royal arsenals in Brazil. On the other hand, as protagonist in the implementation of the «English model», introduced in Lisbon shipyards of Ribeira da Naus, in the early 18th century, by the British shipbuilders, William and Francis Warden.
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This work is intended as a contribution to the study and characterization of the Royal Armada, during the period of the United Kingdom of Portugal, Brazil and Algarves, between 1815 and 1822, namely with regard... more
This work is intended as a contribution to the study and characterization of the Royal Armada, during the period of the United Kingdom of Portugal, Brazil and Algarves, between 1815 and 1822, namely with regard to shipbuilding, vessels, typologies, main shipyards, and shipbuilders, in what effectively founded the genesis of the future Brazilian Imperial Navy, as well as the Portuguese Royal Navy of the early 19th century.
KEYWORDS: Naval Architecture; Shipbuilding; United Kingdom of Portugal, Brazil, and Algarves; 19th Century Navy
KEYWORDS: Naval Architecture; Shipbuilding; United Kingdom of Portugal, Brazil, and Algarves; 19th Century Navy
Research Interests:
Research Interests:
The present work aims mainly to be a contribution to the study of the iconography of D. José, and its main typologies. Further than a list of artists and works (although not exhaustively), we are interested in analyzing the variants of... more
The present work aims mainly to be a contribution to the study of the iconography of D. José, and its main typologies. Further than a list of artists and works (although not exhaustively), we are interested in analyzing the variants of the King’s Portrait, mainly with regard to the question of the representation of power, and the underlying political aspects, determined by the need for restructuring and the rationalization of the state apparatus, and in the implicit jusdivinisme reasoning that comes to define that image, through the association between Power and Providence
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Among the hundreds of illustrations produced during the famous "Philosophical Journey" of the naturalist Alexandre Rodrigues Ferreira, by the captaincies of Grão-Pará, Rio Negro, Mato Grosso and Cuiabá, between 1783 and 1792,... more
Among the hundreds of illustrations produced during the famous "Philosophical Journey" of the naturalist Alexandre Rodrigues Ferreira, by the captaincies of Grão-Pará, Rio Negro, Mato Grosso and Cuiabá, between 1783 and 1792, are some drawings of several vessels, made by Joaquim José Codina, which constitute an extraordinary and unprecedented historical document. In these, the most important are the ones representing the sloop of war Nossa Senhora do Bom Sucesso built in 1775 at Pará's shipyard, after a Manuel Vicente Nunes' model, thus constituting, to date, the only known, contemporaneous and documented proven example of the work of this important shipbuilder.
Research Interests:
Research Interests:
Apesar de desconhecido, Vicente Foro (act.1761-1796) foi um importante mestre e construtor do Arsenal Real de Belém, cuja obra se encontra excecionalmente documentada iconograficamente. Para além do projeto das principais canoas cobertas... more
Apesar de desconhecido, Vicente Foro (act.1761-1796) foi um importante mestre e construtor do Arsenal Real de Belém, cuja obra se encontra excecionalmente documentada iconograficamente. Para além do projeto das principais canoas cobertas do Pará, a partir de 1773, de especial importância, é o ter desenhado o "Plano de Navio" de uma corveta, em 1786, que constitui um raríssimo e inédito testemunho da Arquitetura e Construção Naval luso-brasileira setecentista, que aqui se analisa.
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Life and works (Fête Galante) of the french painter Pierre Antoine Quillard, text presented at the Exhibition "Jean Pillement (1728-1808) and Landscape Painting in 18th century Portugal. Lisboa: Fundação Ricardo do Espírito Santo Silva
Research Interests:
Exhibition that took place at the José Relvas Gallery, a space dedicated to the temporary exhibitions of the Casa-Museu dos Patudos, in Alpiarça, with a small painting exhibition dedicated to the Spanish painter of Belgian origin, Carlos... more
Exhibition that took place at the José Relvas Gallery, a space dedicated to the temporary exhibitions of the Casa-Museu dos Patudos, in Alpiarça, with a small painting exhibition dedicated to the Spanish painter of Belgian origin, Carlos de Haes (c. 1826-1898). Although it consists of a small collection (especially if we consider that the artist bequeathed us, with more than four thousand works), composed of only eight pieces, which are part of the colection scattered throughout the walls of the House-Museum. The exhibition aims not only to promote Haes' painting, but also to make known the taste of the important collector who was José Relvas. In fact, we must not forget that this museum has a dual strand, both artistic and biographical, perpetuating the memory of the figure of José Relvas and, at the same time, his collection, which is naturally revealing the taste and selection criteria of its owner.
Exposição que teve lugar na Galeria José Relvas, espaço dedicado às exposições temporárias da Casa-Museu dos Patudos, em Alpiarça, com uma pequena mostra de pintura dedicada ao pintor espanhol de origem belga, Carlos de Haes (c. 1826-1898). Embora consista numa pequena colecção (sobretudo se tivermos em consideração que o artista nos legou, de mais de quatro mil obras), composta por apenas oito peças, que fazem parte do espólio disperso pelas salas da Casa-Museu. A exposição pretende, não apenas divulgar a pintura de Haes, mas também dar a conhecer o gosto do importante coleccionador que foi José Relvas. De facto, não podemos esquecer que este museu se reveste duma dupla vertente, tanto artística como biográfica, perpetuando a memória da figura de José Relvas e, ao mesmo tempo, a sua colecção, que é naturalmente reveladora do gosto e dos critérios de selecção do seu proprietário.
Exposição que teve lugar na Galeria José Relvas, espaço dedicado às exposições temporárias da Casa-Museu dos Patudos, em Alpiarça, com uma pequena mostra de pintura dedicada ao pintor espanhol de origem belga, Carlos de Haes (c. 1826-1898). Embora consista numa pequena colecção (sobretudo se tivermos em consideração que o artista nos legou, de mais de quatro mil obras), composta por apenas oito peças, que fazem parte do espólio disperso pelas salas da Casa-Museu. A exposição pretende, não apenas divulgar a pintura de Haes, mas também dar a conhecer o gosto do importante coleccionador que foi José Relvas. De facto, não podemos esquecer que este museu se reveste duma dupla vertente, tanto artística como biográfica, perpetuando a memória da figura de José Relvas e, ao mesmo tempo, a sua colecção, que é naturalmente reveladora do gosto e dos critérios de selecção do seu proprietário.
Research Interests:
Built in Bahia shipyard by Manuel da Costa, the ship of the line Principe do Brazil was one of the vessels that integrated the fleet that brought the Royal Court from Lisbon to Brazil in 1808. The discovery of an unidentified ship plane,... more
Built in Bahia shipyard by Manuel da Costa, the
ship of the line Principe do Brazil was one of the
vessels that integrated the fleet that brought the
Royal Court from Lisbon to Brazil in 1808. The
discovery of an unidentified ship plane, which
also allowed the identification of one of the ship
models lost in the ancient “Escola Naval”, as
well as new data about its author, constitute
a precious finding for Late 18th and early 19th
Century Luso-Brazilian Naval Architecture and
Shipbuilding studies.
ship of the line Principe do Brazil was one of the
vessels that integrated the fleet that brought the
Royal Court from Lisbon to Brazil in 1808. The
discovery of an unidentified ship plane, which
also allowed the identification of one of the ship
models lost in the ancient “Escola Naval”, as
well as new data about its author, constitute
a precious finding for Late 18th and early 19th
Century Luso-Brazilian Naval Architecture and
Shipbuilding studies.
Research Interests:
Programa Iconográfico da Pintura da Igreja dos Paulistas (Santa Catarina) em Lisboa. Obras de André Gonçalves, Vieira Lusitano, António Pimenta Rolim, Joaquim Manuel da Rocha
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Royal barges are a perfect example of how the Baroque has potentiated the glorious image of the king, building an image of power through Art, that is, the power of Image, while promoting fear as also admiration. Following the instructions... more
Royal barges are a perfect example of how the Baroque has potentiated the glorious image of the king, building an image of power through Art, that is, the power of Image, while promoting fear as also admiration. Following the instructions of J. B. Colbert of 1669, the greatness of the sovereign should depend not only on the number and strength of the ships, but on the richness and magnificence of the beauty of its ornaments.
In addition to the symbolic means of expressing the king's fame, power, grandeur and central place, ornamentation is also a mirror of the cultural development, wealth, technical and artistic progress of his nation. This manifestation of luxury and fortune constitutes an “ethic of illusion”, typical of the “baroque feast” which, unlike ephemeral constructions, is constantly reaffirmed and updated, from the king’s simple fluvial travels in his barges and galliots, to the festivities and receptions of the highest foreign dignities.
The present paper, far from being intended as an exhaustive study on the subject, too vast, should be understood mainly as a contribution to future developments. Our purpose was, above all, to list the various types of pageant vessels of the Royal House (or the Court), built in the seventeenth century’s Baroque, through handwritten, published, or iconographic sources.
In addition to the symbolic means of expressing the king's fame, power, grandeur and central place, ornamentation is also a mirror of the cultural development, wealth, technical and artistic progress of his nation. This manifestation of luxury and fortune constitutes an “ethic of illusion”, typical of the “baroque feast” which, unlike ephemeral constructions, is constantly reaffirmed and updated, from the king’s simple fluvial travels in his barges and galliots, to the festivities and receptions of the highest foreign dignities.
The present paper, far from being intended as an exhaustive study on the subject, too vast, should be understood mainly as a contribution to future developments. Our purpose was, above all, to list the various types of pageant vessels of the Royal House (or the Court), built in the seventeenth century’s Baroque, through handwritten, published, or iconographic sources.
Research Interests:
Study on the life and work of one of the most prominent and famous Portuguese artists of the 18th century, the painter Vieira Lusitano.
Research Interests:
Although apart from major naval battles, in the late eighteenth century, the 64 was quite suitable for background scenarios, more practical and more maneuverable, especially in adverse weather conditions. The wide form of its hull was... more
Although apart from major naval battles, in the late eighteenth century, the 64 was quite suitable for background scenarios, more practical and more maneuverable, especially in adverse weather conditions. The wide form of its hull was considerably better suited to the needs of higher load capacity. Basically, they were also the ships that best adapted to the escort missions of the commercial fleets, factors of crucial importance for the Portuguese navy.
Built at Baia’s royal shipyard by António da Silva Araújo, the ship Santo António and S. José is one of the nine 64 Gun ship of the line, designed by Manuel Vicente Nunes, in accordance with the new objectives of the Portuguese Armada during the reign of king José I. In 1822, with the independence of Brazil, became the first ship of the National Navy, named D. Pedro I.
Built at Baia’s royal shipyard by António da Silva Araújo, the ship Santo António and S. José is one of the nine 64 Gun ship of the line, designed by Manuel Vicente Nunes, in accordance with the new objectives of the Portuguese Armada during the reign of king José I. In 1822, with the independence of Brazil, became the first ship of the National Navy, named D. Pedro I.
Research Interests: Naval Architecture, Brazilian History, Naval History, Naval Architecture (History), Construção Naval, and 7 moreShip Design, Brasil Colonial, Baía de Todos os Santos, Shipbuilding and Maritime Technology History, Portuguese Naval Architecture in the Age of Exploration, NAVAL ARCHITECTURE AND SHIPBUILDING, and Arquitetura Naval
Mafra has a much broader meaning, than a simple and vast picture gallery, because of the preeminent role that takes as a model, both in Portugal and outside our borders. This singular circumstance, promoting the painting of Mafra, ends up... more
Mafra has a much broader meaning, than a simple and vast picture gallery, because of the preeminent role that takes as a model, both in Portugal and outside our borders. This singular circumstance, promoting the painting of Mafra, ends up establishing it as paradigmatic model of eighteenth century’s art. Among the works produced for the basilica, the most important, precisely because they became models, were the two versions of the Holy Family, painted by Vieira Lusitano (1699-1783) and Agostino Masucci (1691-1758), here examined. The controversy between the two works,
rather than personal reasons, reveals the confrontation of different stylistic preferences - barocchetto and classicism – reflecting the modernity of Rome’s artistic panorama, in the second quarter of the XVIII century.
rather than personal reasons, reveals the confrontation of different stylistic preferences - barocchetto and classicism – reflecting the modernity of Rome’s artistic panorama, in the second quarter of the XVIII century.
Research Interests:
Although unknown, Vicente Foro (act. 17611796) was an important master and shipbuilder at Belem’s Royal Arsenal, whose work is remarkably ichnographically documented. Apart from the project of the main Pará covered canoes, built from 1773... more
Although unknown, Vicente Foro (act. 17611796) was an important master and shipbuilder at Belem’s Royal Arsenal, whose work is remarkably ichnographically documented. Apart from the project of the main Pará covered canoes, built from 1773 onwards, of singular importance is the drawing of the “Ship Plan” of a corvette, in 1786, which constitutes a very rare and unprecedented testimony of eighteenth-century Portuguese-Brazilian Naval Architecture and shipbuilding, which is here examined.
Research Interests:
Nicolas Delerive belongs to a generation of French artists established in Portugal in the late 18th century. In addition to one of the best interpreters of our country’s customs and popular types, he also developed a new trend which... more
Nicolas Delerive belongs to a generation of French artists established in Portugal in the late 18th century. In addition to one of the best interpreters of our country’s customs and popular types, he also developed a new trend which contributes to the rise of genre Painting in the 19th century, through Flemish and Dutch painting models, elements that are at the base of a new aesthetic, Proto-romantic, which develops in counter-current in the face of dominant classicism. In the 19th century, it will be up to the romantic generation to follow this path of figurative trend, which will lead to the construction of a new Portuguese Visual culture, which it will last till the mid-twentieth century.
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O tema da Escada de Jacob é certamente um dos mais representados e referidos na Arte e Literatura cristãs no tocante a narrativas do Antigo Testamento, não tanto pelo episódio em si, mas sobretudo por se inserir no diverso conjunto de... more
O tema da Escada de Jacob é certamente um dos mais representados e referidos na Arte e Literatura cristãs no tocante a narrativas do Antigo Testamento, não tanto pelo episódio em si, mas sobretudo por se inserir no diverso conjunto de símbolos que lidam com a ideia de «ascensão» e «queda», subida e descida, humano e divino, associando-se às imagens de escadas, montanhas, torres, árvores, entre outras.
Research Interests:
A actual igreja paroquial de Santa Catarina, do antigo convento da congregação de São Paulo da Serra d'Ossa, é sem dúvida uma das mais ricas de Lisboa, e essa opulência, para além do seu recheio decorativo, passa também pela riqueza do... more
A actual igreja paroquial de Santa Catarina, do antigo convento da congregação de São Paulo da Serra d'Ossa, é sem dúvida uma das mais ricas de Lisboa, e essa opulência, para além do seu recheio decorativo, passa também pela riqueza do seu programa iconográfico. Sendo originalmente igreja conventual de uma congregação eremítica, dedicada ao Santíssimo Sacramento, esta circunstância reflecte-se naturalmente no seu programa decorativo. Assim, é precisamente esta dupla vertente (a eucarística e a eremítica) que marca o seu complexo programa iconográfico, que mantém, ainda hoje, a sua grandeza e plena integridade. Palavras-chave: Iconografia, Iconografia eucarística, São Paulo Eremita, Vieira Lusitano, André Gonçalves Pintura do século XVIII.
Abstract The present parish church of Santa Catarina, former convent church of the congregation of São Paulo da Serra d'Ossa, is undoubtedly one of the richest in Lisbon, and this opulence, besides its decorative filling, also goes through the richness of its iconographic program. Being originally a conventual church of a hermitic congregation, dedicated to the Holy Sacrament, this circumstance is reflected naturally in its decorative program. Thus, it is precisely this double aspect (the Eucharistic and the hermitic) that marks its complex iconographic program, which still maintains today its greatness and full integrity.
Abstract The present parish church of Santa Catarina, former convent church of the congregation of São Paulo da Serra d'Ossa, is undoubtedly one of the richest in Lisbon, and this opulence, besides its decorative filling, also goes through the richness of its iconographic program. Being originally a conventual church of a hermitic congregation, dedicated to the Holy Sacrament, this circumstance is reflected naturally in its decorative program. Thus, it is precisely this double aspect (the Eucharistic and the hermitic) that marks its complex iconographic program, which still maintains today its greatness and full integrity.
Research Interests:
This text is based more on raising questions, and points of debate, than the usual exposure of content. “Sacred Art” is a topic of enormous complexity, which is inextricably linked with enormous responsibility. Among the intricate set of... more
This text is based more on raising questions,
and points of debate, than the usual exposure
of content. “Sacred Art” is a topic of enormous
complexity, which is inextricably linked with
enormous responsibility. Among the intricate
set of interconnected valences of Sacred Art,
those of liturgical-cultic, artistic-cultural and
patrimonial nature stand out.
Portugal has a considerable artistic and cultural
heritage but, as a country of limited resources,
the Portuguese State can hardly ever provide
an effective response to all the needs that
such a charge entails. In this regard, we could
pose a hypothetical question - what if these
belongings were restored to their primary
source or, at least (given many of the convents,
churches, or original chapels no longer exist),
they could be returned to their sacred environments
for which they were created? The return
of images and objects of Sacred Art to the churches
becomes fully justifiable, since (beyond a
matter of justice) the Church is naturally the
most suitable place for the spiritual realization,
the communication of meaning, the expression
of Liturgy, and for the fulfillment of the spiritual,
pastoral and catechetical function of these
objects which, actually, embrace its essence.
and points of debate, than the usual exposure
of content. “Sacred Art” is a topic of enormous
complexity, which is inextricably linked with
enormous responsibility. Among the intricate
set of interconnected valences of Sacred Art,
those of liturgical-cultic, artistic-cultural and
patrimonial nature stand out.
Portugal has a considerable artistic and cultural
heritage but, as a country of limited resources,
the Portuguese State can hardly ever provide
an effective response to all the needs that
such a charge entails. In this regard, we could
pose a hypothetical question - what if these
belongings were restored to their primary
source or, at least (given many of the convents,
churches, or original chapels no longer exist),
they could be returned to their sacred environments
for which they were created? The return
of images and objects of Sacred Art to the churches
becomes fully justifiable, since (beyond a
matter of justice) the Church is naturally the
most suitable place for the spiritual realization,
the communication of meaning, the expression
of Liturgy, and for the fulfillment of the spiritual,
pastoral and catechetical function of these
objects which, actually, embrace its essence.
Research Interests:
This study focuses on the construction of the largest ship produced in the new shipyard in Belém, the Ship of the line Nossa Senhora de Belém e S. José (1766-1805) by the shipbuilder Luís Isidoro de Gouveia, whose history is closely... more
This study focuses on the construction of the
largest ship produced in the new shipyard in
Belém, the Ship of the line Nossa Senhora de
Belém e S. José (1766-1805) by the shipbuilder
Luís Isidoro de Gouveia, whose history is closely
linked to the creation of Pará’s Arsenal. With
the publication of these new data, both documentary
and iconographic, it is intended to
bring new light to the study the study of Naval
Construction in the eighteenth century and in
particular, to the Arsenal of Belém do Pará.
largest ship produced in the new shipyard in
Belém, the Ship of the line Nossa Senhora de
Belém e S. José (1766-1805) by the shipbuilder
Luís Isidoro de Gouveia, whose history is closely
linked to the creation of Pará’s Arsenal. With
the publication of these new data, both documentary
and iconographic, it is intended to
bring new light to the study the study of Naval
Construction in the eighteenth century and in
particular, to the Arsenal of Belém do Pará.
Research Interests:
Among the hundreds of illustrations produced during the famous “Philosophical Journey” of the naturalist Alexandre Rodrigues Ferreira, by the captaincies of Grão-Pará, Rio Negro, Mato Grosso and Cuiabá, between 1783 and 1792, are some... more
Among the hundreds of illustrations produced during the famous “Philosophical Journey” of the naturalist Alexandre Rodrigues Ferreira, by the captaincies of Grão-Pará, Rio Negro, Mato Grosso and Cuiabá, between 1783 and 1792, are some drawings of several vessels, made by Joaquim José Codina, which constitute an extraordinary and unprecedented historical document. In these, the most important are the ones representing the sloop of war Nossa Senhora do Bom Sucesso built in 1775 at Pará’s shipyard, after a Manuel Vicente Nunes’ model, thus constituting, to date, the only known, contemporaneous and documented proven example of the work of this important shipbuilder.
KEYWORDS: Naval History; Manuel Vicente Nunes; Sloop of War; 18th Century
KEYWORDS: Naval History; Manuel Vicente Nunes; Sloop of War; 18th Century
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Manuel Vicente Nunes is without doubt, one of the most important shipbuilders of Portuguese 18th century Naval History, regarding the several aspects that marked his life and work. On one hand, he is the perfect example of the changes in... more
Manuel Vicente Nunes is without doubt, one of the most important shipbuilders of Portuguese 18th century Naval History, regarding the several aspects that marked his life and work. On one hand, he is the perfect example of the changes in the shipbuilder’s social status, and the gradual rise from mere Carpenter to the rank of First constructor. On the other hand, his work is guided by a particular design, which was at the base of warships construction in Portugal and in Brazil, and distinct from most of European 18th-century naval production, despite the widespread trend to uniformity
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Figura extraordinária no panorama da Pintura Romântica portuguesa, Francisco Metrass é o pintor que melhor personifica o “romântico por excelência”. Por um lado, pelos aspectos associados à vida trágica, prematuramente ceifada pela... more
Figura extraordinária no panorama da Pintura Romântica portuguesa, Francisco Metrass é o pintor que melhor personifica o “romântico por excelência”. Por um lado, pelos aspectos associados à vida trágica, prematuramente ceifada pela tuberculose (o “mal do século”); por outro, pelo trabalho ímpar que nos deixou, e a importante renovação que operou no seio da Pintura de História. Mais do que um estudo sistemático, para além de trazer a lume alguns dados inéditos, pretende-se aqui esboçar uma análise através de alguns dos elementos que melhor caracterizaram a sua obra - Melancolia, Morte e Erotismo – dando particular destaque aquela que se constituí como a pintura mais importante da sua carreira, o Só Deus!, de 1856
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Considerações acerca de Arte Sacra e Património Religioso, Museologia, relações entre Estado e Igreja.
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Monografia sobre o pintor setecentista Jerónimo da Silva, com mtos dados inéditos e documentação.
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Mafra foi certamente o centro mais importante da pintura portuguesa na primeira metade do século XVIII, não só pela quantidade das obras encomendadas – para a igreja, sacristia, convento e demais dependências do palácio - pela diversidade... more
Mafra foi certamente o centro mais importante da pintura portuguesa na primeira metade do século XVIII, não só pela quantidade das obras encomendadas – para a igreja, sacristia, convento e demais dependências do palácio - pela diversidade dos artistas de formação/actividade romana, que para ali trabalharam, como sobretudo pelo fomento de novos modelos pictóricos e valores estilísticos que, de forma substancial, irão alterar o panorama pictórico nacional.
Mafra was definitely the most important center of Portuguese painting in the first half of the 18th century, not only by the amount of commissioned works – for the church, convent, and other dependencies of the palace – and by the diversity of roman school artists (natural or there educated) but mostly, by promoting new pictorial models and stylistic values, in a substantial way, that will change the Portuguese pictorial development.
Mafra was definitely the most important center of Portuguese painting in the first half of the 18th century, not only by the amount of commissioned works – for the church, convent, and other dependencies of the palace – and by the diversity of roman school artists (natural or there educated) but mostly, by promoting new pictorial models and stylistic values, in a substantial way, that will change the Portuguese pictorial development.
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Para além de uma pintura inédita, aqui se revelam novos dados sobre a vida do pintor André Gonçalves, como a publicação inédia do seu óbito.
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Se bem que tenha praticado quase todas as temáticas, Malhoa começa rapidamente a destacar-se das gerações anteriores com uma aposta significativa na Pintura de Género, naquilo a que consistiu a essência fundamental da sua obra,... more
Se bem que tenha praticado quase todas as temáticas, Malhoa começa rapidamente a destacar-se das gerações anteriores com uma aposta significativa na Pintura de Género, naquilo a que consistiu a essência fundamental da sua obra, contaminando outras temáticas pictóricas. Ela atingiu 44% da sua participação em exposições nacionais, e chegou aos 70% nas internacionais.
Ora, é precisamente através do Género que se estabelece uma forte correspondência com o princípio enunciado por Daumier, e depois reiterado por Manet e Baudelaire: Il faut être de son temps. Não surpreende portanto, ler numa das cartas escritas por Malhoa, em Outubro de 1907, o seguinte enunciado “... a convicção, que o artista [deve] sobre tudo, pintar a sua epoca”
Podemos sem dificuldade afirmar que Malhoa foi efectivamente, parafraseando a obra de Baudelaire, um “Pintor da Vida Moderna”, embora naturalmente o termo não deva ser contextualizado com a realidade parisiense, mas sim a portuguesa.
Ora, é precisamente através do Género que se estabelece uma forte correspondência com o princípio enunciado por Daumier, e depois reiterado por Manet e Baudelaire: Il faut être de son temps. Não surpreende portanto, ler numa das cartas escritas por Malhoa, em Outubro de 1907, o seguinte enunciado “... a convicção, que o artista [deve] sobre tudo, pintar a sua epoca”
Podemos sem dificuldade afirmar que Malhoa foi efectivamente, parafraseando a obra de Baudelaire, um “Pintor da Vida Moderna”, embora naturalmente o termo não deva ser contextualizado com a realidade parisiense, mas sim a portuguesa.
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Joaquim Manuel da Rocha (1727-1786). Paintings at the S.Paul's church in Salvaterra de Magos, Portugal. Pellegrino Parodi
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Manuel Vicente Nunes is without doubt, one of the most important shipbuilders of Portuguese 18th century Naval History, regarding the several aspects that marked his life and work. On one hand, he is the perfect example of the... more
Manuel Vicente Nunes is without doubt, one of
the most important shipbuilders of Portuguese
18th century Naval History, regarding the several
aspects that marked his life and work. On one
hand, he is the perfect example of the changes
in the shipbuilder’s social status, and the gradual
rise from mere Carpenter to the rank of First
constructor. On the other hand, his work is guided
by a particular Design, which was at the base of
warships construction in Portugal and in Brazil,
and distinct from most of European 18th-century
naval production, despite the widespread trend to
uniformity.
KEYWORDS: Naval Shipbuilding, Naval Design,
Naval History, 18 th Century
the most important shipbuilders of Portuguese
18th century Naval History, regarding the several
aspects that marked his life and work. On one
hand, he is the perfect example of the changes
in the shipbuilder’s social status, and the gradual
rise from mere Carpenter to the rank of First
constructor. On the other hand, his work is guided
by a particular Design, which was at the base of
warships construction in Portugal and in Brazil,
and distinct from most of European 18th-century
naval production, despite the widespread trend to
uniformity.
KEYWORDS: Naval Shipbuilding, Naval Design,
Naval History, 18 th Century
Research Interests:
Giovanni Odazzi (1663 – 6 June 1731) painting to Portugal.
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Retrato Século XVIII, Francesco Trevisani, Ordem Terceira S. Francisco
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O Retrato foi uma das temáticas mais frequentes na obra de Malhoa, circunstância decorrente das necessidades crescentes do mercado, e da sua própria subsistência financeira. Ela desenvolve-se entre duas modalidades, oscilando entre o... more
O Retrato foi uma das temáticas mais frequentes na obra de Malhoa, circunstância decorrente das necessidades crescentes do mercado, e da sua própria subsistência financeira. Ela desenvolve-se entre duas modalidades, oscilando entre o Luminismo e o “Tenebrismo”. E, talvez daí, resulte grande parte do seu sucesso, ao tornar-se mais susceptível do agrado generalizado, promovendo uma resposta eficaz às “oscilações do gosto”. Logo depois do Género, foi justamente no Retrato que obteve alguns dos
seus maiores êxitos e galardões internacionais. Se, por um lado, se mostra devedor das influências dos mestres do passado, como Velásquez, Frans Hals, Rembrandt, ou Murillo, por outro, a própria obra não deixa de indiciar referências mais modernas, estilísticas ou técnicas. A corrente luminista da arte do retrato, atinge níveis excepcionais, constituindo assim a vertente mais moderna da sua obra.
seus maiores êxitos e galardões internacionais. Se, por um lado, se mostra devedor das influências dos mestres do passado, como Velásquez, Frans Hals, Rembrandt, ou Murillo, por outro, a própria obra não deixa de indiciar referências mais modernas, estilísticas ou técnicas. A corrente luminista da arte do retrato, atinge níveis excepcionais, constituindo assim a vertente mais moderna da sua obra.
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II Colóquio Internacional de História da Arte e da Cultura: “O Artista e a Sociedade” Universidade Federal de Juiz de Fora (UFJF) Artistas e Espaços de Sociabilidade no século XIX O “Leão d’Ouro” e a Génese do Naturalismo na Pintura... more
II Colóquio Internacional de História da Arte e da Cultura: “O Artista e a Sociedade”
Universidade Federal de Juiz de Fora (UFJF)
Artistas e Espaços de Sociabilidade no século XIX
O “Leão d’Ouro” e a Génese do Naturalismo na Pintura Portuguesa
(1885-1905)
Prof. Doutor Nuno Saldanha
IADE-U/UNIDCOM
A história da decoração dos espaços comerciais, mormente ligados à actividade da Restauração, como cafés, cervejarias, casas de chá e restaurantes (ou nas múltiplas variantes possíveis), continua por fazer, apesar da importância fulcral de que se revestem, para o entendimento das estreitas relações que se estabelecem entre a Arquitectura, o Design, a Cidade, Artistas e a Sociedade.
Para além do significado intrínseco como espaços de sociabilidade, de cultura, e da História das Ideias, eles constituem-se como espelhos da vida de uma cidade, e de uma época onde, paralelamente, se desenvolve uma História da teoria e das práticas da Arquitectura e/ou do Design, de um modo particularmente interdependente, que não pode ser descurado.
Assim, a decoração destes espaços contribuiu tanto para a definição da sua personalidade, quanto os personagens que os frequentaram. E, por ironia, foram sobretudo estes últimos, que concorreram para a perenidade daqueles locais que, forçados às exigências das transformações do gosto, se revestiam necessariamente de uma natureza efémera. De facto, a sua reconstituição torna-se hoje possível, graças aos testemunhos literários, poéticos e periodicistas, bem como aos registos iconográficos de pintores, gravadores, e também fotógrafos.
Universidade Federal de Juiz de Fora (UFJF)
Artistas e Espaços de Sociabilidade no século XIX
O “Leão d’Ouro” e a Génese do Naturalismo na Pintura Portuguesa
(1885-1905)
Prof. Doutor Nuno Saldanha
IADE-U/UNIDCOM
A história da decoração dos espaços comerciais, mormente ligados à actividade da Restauração, como cafés, cervejarias, casas de chá e restaurantes (ou nas múltiplas variantes possíveis), continua por fazer, apesar da importância fulcral de que se revestem, para o entendimento das estreitas relações que se estabelecem entre a Arquitectura, o Design, a Cidade, Artistas e a Sociedade.
Para além do significado intrínseco como espaços de sociabilidade, de cultura, e da História das Ideias, eles constituem-se como espelhos da vida de uma cidade, e de uma época onde, paralelamente, se desenvolve uma História da teoria e das práticas da Arquitectura e/ou do Design, de um modo particularmente interdependente, que não pode ser descurado.
Assim, a decoração destes espaços contribuiu tanto para a definição da sua personalidade, quanto os personagens que os frequentaram. E, por ironia, foram sobretudo estes últimos, que concorreram para a perenidade daqueles locais que, forçados às exigências das transformações do gosto, se revestiam necessariamente de uma natureza efémera. De facto, a sua reconstituição torna-se hoje possível, graças aos testemunhos literários, poéticos e periodicistas, bem como aos registos iconográficos de pintores, gravadores, e também fotógrafos.
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Catalog of the large exhibition of the graphic work of Giovanni Battista Piranesi, one of the most important engravers of his time, for whom Rome and the architectural and archaeological remains of classical antiquity constitute the main... more
Catalog of the large exhibition of the graphic work of Giovanni Battista Piranesi, one of the most important engravers of his time, for whom Rome and the architectural and archaeological remains of classical antiquity constitute the main source of inspiration, and author of the famous Veduta del Carceri.
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Pictura Poesis. Identity and Difference in the Aesthetic Ideas of the Modern Age M.A. Dissertation in History of Aesthetic Ideas presented to Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa. Published by Editorial... more
Pictura Poesis. Identity and Difference in the Aesthetic Ideas of the Modern Age
M.A. Dissertation in History of Aesthetic Ideas presented to Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa. Published by Editorial Caminho in 1995.
M.A. Dissertation in History of Aesthetic Ideas presented to Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa. Published by Editorial Caminho in 1995.
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História da Marinha Portuguesa.
Portuguese Naval History
Portuguese Naval History
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One of the latest disciples of José Malhoa, Maria de Lourdes de Mello e Castro (1903-1996) was undoubtedly part of the late-naturalist movement, one of the most original artists of the twentieth century. In addition to the interest that... more
One of the latest disciples of José Malhoa, Maria de Lourdes de Mello e Castro (1903-1996) was undoubtedly part of the late-naturalist movement, one of the most original artists of the twentieth century. In addition to the interest that their career and work can arouse in themselves, they are simultaneously representative of the various aspects that marked the artistic creation of the 20th century, namely in the understanding of the historical, pedagogical, psychological, sociological and artistic, of the pictorial production of Portuguese women. In the year in which the 110th anniversary of her birth is celebrated, this book, although it is the most complete work on the painter, aims above all to constitute a contribution that, besides the study of its life and work, also aims to provide a better knowledge of the diverse realities of Contemporary Portuguese Art.
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A publicação da obra José Malhoa (1855-1933) – Catálogo Raisonné representa o culminar de um longo projecto de recolha e inventariação da produção artística do pintor. Um trabalho complexo, multidisciplinar e exaustivo, com a exigência... more
A publicação da obra José Malhoa (1855-1933) – Catálogo Raisonné representa o culminar de um longo projecto de recolha e inventariação da produção artística do pintor. Um trabalho complexo, multidisciplinar e exaustivo, com a exigência necessária à responsabilidade da tarefa em causa, assente numa Comissão Consultiva de reconhecida solidez, composta por personalidades e entidades de indiscutível prestígio em todas as áreas envolvidas. Na área da História da Arte, para além do Prof. Nuno Saldanha, o Prof. José-Augusto França e a Prof. Raquel Henriques da Silva; na área da peritagem de pintura – uma área fulcral numa obra desta natureza – o Arq. João Teixeira, um dos mais conceituados peritos de arte portuguesa e Gabriel Laranja Lopes, perito de pintura da Cabral Moncada Leilões. Trata-se de um instrumento indispensável para alargar o conhecimento e aprofundar o estudo da obra de José Malhoa, sendo, em simultâneo, um livro de referência para estudiosos, historiadores, coleccionadores, antiquários, leiloeiros, conservadores de museus, técnicos de conservação e restauro. Profusamente ilustrado, contando com mais de 1200 imagens, o Catálogo Raisonné da obra de José Malhoa reveste-se de particular significado, dado o peso do artista na Arte Portuguesa e o interesse por parte do grande público que a obra do pintor continua a suscitar na cultura e mercado da arte
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O livro visa o estudo de uma das personagens mais carismáticas e incontornáveis no panorama da História da Arte Portuguesa oitocentista. “Uma das mais idolatradas, mas também das mais controversas, nomeadamente no epíteto dado, do “mais... more
O livro visa o estudo de uma das personagens mais carismáticas e incontornáveis no panorama da História da Arte Portuguesa oitocentista. “Uma das mais idolatradas, mas também das mais controversas, nomeadamente no epíteto dado, do “mais português dos pintores portugueses“.
Apesar da popularidade da sua figura, e da extensa fortuna crítica que a ele lhe tem sido dedicada, Malhoa carecia ainda de um estudo sistemático global, e de contextualização, quer a nível nacional, como, sobretudo internacional, no sentido de compreender a eventual especificidade da sua obra, e personalidade. Pretendeu-se realizar uma análise detalhada e sistemática da sua vida e obra, não apenas desconstruindo esse “mito da portugalidade”, como também, perceber os moldes em que se desenvolveu a sua produção pictórica, através das ideias, dos modelos, influências e resultados, numa obra profusamente ilustrada com cerca de 300 fotografias.
This work aims to study one of the most charismatic and compelling characters in the panorama of nineteenth-century Portuguese Art History. One of the most idolized, but also most controversial, particularly given the epithet of "the most Portuguese Portuguese painters."
Despite the popularity of his figure, and the vast fortune that the criticism he has been paid, Malhoa still lacked a systematic study of global and context, both at national and especially international, to understand the possible specificity of his work and personality.
We intended to conduct a detailed and systematic analysis of his life and work, not only deconstructing the myth of the Portuguese ", but also understand the ways in which developed his pictorial production, through the ideas, models, influences and outcomes , a work profusely illustrated with 300 photographs
Apesar da popularidade da sua figura, e da extensa fortuna crítica que a ele lhe tem sido dedicada, Malhoa carecia ainda de um estudo sistemático global, e de contextualização, quer a nível nacional, como, sobretudo internacional, no sentido de compreender a eventual especificidade da sua obra, e personalidade. Pretendeu-se realizar uma análise detalhada e sistemática da sua vida e obra, não apenas desconstruindo esse “mito da portugalidade”, como também, perceber os moldes em que se desenvolveu a sua produção pictórica, através das ideias, dos modelos, influências e resultados, numa obra profusamente ilustrada com cerca de 300 fotografias.
This work aims to study one of the most charismatic and compelling characters in the panorama of nineteenth-century Portuguese Art History. One of the most idolized, but also most controversial, particularly given the epithet of "the most Portuguese Portuguese painters."
Despite the popularity of his figure, and the vast fortune that the criticism he has been paid, Malhoa still lacked a systematic study of global and context, both at national and especially international, to understand the possible specificity of his work and personality.
We intended to conduct a detailed and systematic analysis of his life and work, not only deconstructing the myth of the Portuguese ", but also understand the ways in which developed his pictorial production, through the ideas, models, influences and outcomes , a work profusely illustrated with 300 photographs
Research Interests:
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Monografia dedicada ao estudo da colecção de Pintura do Museu Escola de Artes Decorativa Portuguesas da FRESS. Pintura do século XVII e XVIII de grandes pintores portugueses (Pedro Alexandrino, Vieira Portuense, Morgado de Setúbal,... more
Monografia dedicada ao estudo da colecção de Pintura do Museu Escola de Artes Decorativa Portuguesas da FRESS. Pintura do século XVII e XVIII de grandes pintores portugueses (Pedro Alexandrino, Vieira Portuense, Morgado de Setúbal, Gregório Lopes, Bento Coelho da Silveira, Vieira Lusitano, Joaquim Manuel da Rocha, Joaquim Marques) e estrangeiros que trabalharam em Portugal (Dirk Stoop, Quillard, Van Loo, Delerive, Jean Pillement, Henri L'Evêque, Alexandre-Jean Noël)
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JOANNI V MAGNIFICO. [Painting in Portugal at the time of D. João V. 1706 - 1750], Lisbon, IPPAR, Portuguese Institute of Architectural and Archaeological Heritage - Secretary of State for Culture, 1994, XVII-457 p., Il .; 30.5 cm. Catalog... more
JOANNI V MAGNIFICO. [Painting in Portugal at the time of D. João V. 1706 - 1750], Lisbon, IPPAR, Portuguese Institute of Architectural and Archaeological Heritage - Secretary of State for Culture, 1994, XVII-457 p., Il .; 30.5 cm. Catalog of unusual graphic quality, which remains as a testimony of a monumental exhibition dedicated to Portuguese painting from the time of King D. João V. Profusely illustrated in color and in black and with texts by great researchers in this field, from Portugal, Spain, France and Italy.
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This Congress aims to bring together a group of researchers at an international level who have been studying the areas of Naval History and Military History, in a comprehensive perspective, without chronological, geographical, or... more
This Congress aims to bring together a group of researchers at an international level who have been studying the areas of Naval History and Military History, in a comprehensive perspective, without chronological, geographical, or disciplinary boundaries.
Based on a broad discussion of the evolution of maritime warfare through a multi and interdisciplinary approach, it encompasses the most diverse areas of research, both in terms of ship typologies and weaponry, as well as the corresponding scientific and technological progress that supported that same evolution (Nautic, hydrostatics, hydrodynamics, pyroballistic, naval architecture, design, naval engineering, etc.), including the Maritime Cultural Heritage. From a broader perspective, it is also intended to highlight the contribution of the War at Sea to globalization in the transfer of knowledge and techniques, which unavoidably promoted a broader understanding of the oceans.
Based on a broad discussion of the evolution of maritime warfare through a multi and interdisciplinary approach, it encompasses the most diverse areas of research, both in terms of ship typologies and weaponry, as well as the corresponding scientific and technological progress that supported that same evolution (Nautic, hydrostatics, hydrodynamics, pyroballistic, naval architecture, design, naval engineering, etc.), including the Maritime Cultural Heritage. From a broader perspective, it is also intended to highlight the contribution of the War at Sea to globalization in the transfer of knowledge and techniques, which unavoidably promoted a broader understanding of the oceans.
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Congresso Internacional A Cópia Pictórica em Portugal, Espanha e no Novo Mundo, 1552-1752 Fundação Calouste Gulbenkian, Lisboa 11-12 de Outubro de 2016 Data limite para submissão de propostas: 29 de Abril Organização: IHA, FCSH,... more
Congresso Internacional A Cópia Pictórica em Portugal, Espanha e no Novo Mundo, 1552-1752
Fundação Calouste Gulbenkian, Lisboa
11-12 de Outubro de 2016
Data limite para submissão de propostas: 29 de Abril
Organização: IHA, FCSH, Universidade NOVA de Lisboa, e Projecto de Investigação Nacional Espanhol COPIMONARCH,
Universidade de Granada
O Congresso Internacional “A Cópia Pictórica em Portugal, Espanha e no Novo Mundo, 1552-1752” pretende reflectir renovadamente sobre o fenómeno da cópia nestes territórios num período de dois séculos, iniciando-se esta reflexão em 1552, data da chegada de Antonio Moro a Portugal e concluindo-se em 1752, quando se fundou a Real Academia de Belas Artes de São Fernando em Madrid.
Este encontro científico é organizado pelo grupo Medieval and Early Modern Art Studies do IHA, através dos investigadores Pedro Flor e Susana Varela Flor, e pelo Projecto de Investigação Nacional Espanhol COPIMONARCH, da Universidade de Granada.
Comissão Científica
António Candeias (HERCULES/Universidade de Évora)
David Garcia Cueto (Univesidad Granada)
José Alberto Gomes Machado (Universidade de Évora)
Isabel Mendonça (IHA, FCSH, Universidade NOVA de Lisboa)
Luisa Elena Alcalá (Universidad Autonoma Madrid)
Maria João Pereira Coutinho (IHA, FCSH, Universidade NOVA de Lisboa)
Nuno Saldanha (IADE)
Pedro Flor (IHA, FCSH, Universidade NOVA de Lisboa / Universidade Aberta)
Sílvia Ferreira (IHA, FCSH, Universidade NOVA de Lisboa)
Susana Varela Flor (IHA, FCSH, Universidade NOVA de Lisboa)
Vítor Serrão (ARTIS – FLUL / Universidade de Lisboa)
Comissão Executiva
Ana Celeste Glória (IHA, FCSH, Universidade NOVA de Lisboa)
Raquel Seixas (IHA, FCSH, Universidade NOVA de Lisboa)
Fundação Calouste Gulbenkian, Lisboa
11-12 de Outubro de 2016
Data limite para submissão de propostas: 29 de Abril
Organização: IHA, FCSH, Universidade NOVA de Lisboa, e Projecto de Investigação Nacional Espanhol COPIMONARCH,
Universidade de Granada
O Congresso Internacional “A Cópia Pictórica em Portugal, Espanha e no Novo Mundo, 1552-1752” pretende reflectir renovadamente sobre o fenómeno da cópia nestes territórios num período de dois séculos, iniciando-se esta reflexão em 1552, data da chegada de Antonio Moro a Portugal e concluindo-se em 1752, quando se fundou a Real Academia de Belas Artes de São Fernando em Madrid.
Este encontro científico é organizado pelo grupo Medieval and Early Modern Art Studies do IHA, através dos investigadores Pedro Flor e Susana Varela Flor, e pelo Projecto de Investigação Nacional Espanhol COPIMONARCH, da Universidade de Granada.
Comissão Científica
António Candeias (HERCULES/Universidade de Évora)
David Garcia Cueto (Univesidad Granada)
José Alberto Gomes Machado (Universidade de Évora)
Isabel Mendonça (IHA, FCSH, Universidade NOVA de Lisboa)
Luisa Elena Alcalá (Universidad Autonoma Madrid)
Maria João Pereira Coutinho (IHA, FCSH, Universidade NOVA de Lisboa)
Nuno Saldanha (IADE)
Pedro Flor (IHA, FCSH, Universidade NOVA de Lisboa / Universidade Aberta)
Sílvia Ferreira (IHA, FCSH, Universidade NOVA de Lisboa)
Susana Varela Flor (IHA, FCSH, Universidade NOVA de Lisboa)
Vítor Serrão (ARTIS – FLUL / Universidade de Lisboa)
Comissão Executiva
Ana Celeste Glória (IHA, FCSH, Universidade NOVA de Lisboa)
Raquel Seixas (IHA, FCSH, Universidade NOVA de Lisboa)
Research Interests: Spanish Studies, Italian Cultural Studies, Spanish painting, Pintura, Monarquía Hispánica, and 24 moreSpanish Literature and Cultural Studies, Real Academia Española, Monarquia Portuguesa, Pintura Iconografia Portuguesa. Espólio pictorico Mosteiro dos Jeronimos Lisboa, Monarquía de los Habsburgo en España, Pintura de el Siglo de Oro, Italian Painting, Pintura Barroca Española, Pintura Barroca, Pintura Novohispana, Pinturas, Copia, Escuela De Pintura Sevillana, Real Academia De Bellas Artes De San Fernando, Pintores Renacentistas, Real Academia de Bellas Artes de San Fernando de Madrid, Real Academia de Bellas Artes y Ciencias Históricas de Toledo, Pintura española siglo XVIII, Monarquias, Pintura Italiana, Academia de Belas Artes Lisbonne, Cópia Pictórica, Pintura Monarquia, and Reprodução de pintura
Esta capela, de reduzidas dimensões, encontra-se integrada na antiga casa senhorial dos Sousa Mexia, nos arrabaldes de Lisboa, na sua quinta ao Campo Grande, onde hoje está sediado o Museu da Cidade de Lisboa. Atualmente, neste exíguo... more
Esta capela, de reduzidas dimensões, encontra-se integrada na antiga casa senhorial dos Sousa Mexia, nos arrabaldes de Lisboa, na sua quinta ao Campo Grande, onde hoje está sediado o Museu da Cidade de Lisboa. Atualmente, neste exíguo espaço longitudinal (quase mais simbólico que operacional), as paredes interiores estão revestidas por silhares de azulejos de "Padrão" floral a azul e branco, com respetiva cercadura. Para além da guarda em madeira, possui um altar, com um retábulo rococó, onde se encontra uma das pinturas deste espaço. (Fig. 1) A cobertura apainelada em madeira, decorada com cartelas de concheados e ramagens de acanto, ostenta uma grande tela ao centro, com moldura de talha dourada, no estilo de "Quadro riportato". A história desta capela encontra-se ainda em grande parte por fazer, dado ter passado por diversas vicissitudes e remodelações (e eventual deslocação), ao longo dos séculos, à medida que foi mudando de proprietário (particulares e instituições), respondendo às naturais alterações dos propósitos e necessidades dos mesmos, o que torna difícil uma reconstituição da sua originalidade.