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In early January 1669, Prince Cosimo de' Medici crossed the Portuguese border, with an entourage of more than forty companions. In the aftermath of this visit he commissioned fifteen portraits of the General of the War Restoration... more
In early January 1669, Prince Cosimo de' Medici crossed the Portuguese border, with an entourage of more than forty companions. In the aftermath of this visit he commissioned fifteen portraits of the General of the War Restoration (1640-1668). The present paper will focus on the commissioning of this works.
Research Interests: Portraiture and Tiles
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This study reports the mineralogical and chemical characterization of the ceramic body of tiles signed by Gabriel del Barco, which belong to the Palácio Almada in Lisbon [1]. Nowadays, the tile panels are not in its original place and... more
This study reports the mineralogical and chemical characterization of the ceramic body of tiles signed by Gabriel del Barco, which belong to the Palácio Almada in Lisbon [1]. Nowadays, the tile panels are not in its original place and their appearance reflect the constant changes that they have been through. Gabriel del Barco was an important tile painter from the 17 th century, who began his
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Este texto que agora se publica resulta, em parte, de uma comunicação apresentada no III Colóquio de História da Arte, intitulado Arte, História e Vivências-séculos XVI e XVII, organizado pelo Palácio Nacional de Sintra em 2008.
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(versão portuguesa e inglesa)
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Due to its sunny location and mild climate, the hill of Sant'Ana in Lisbon was, since early times, the place of construction of religious and civil buildings. In the eighteenth century, near the former Santo António dos Capuchos Convent... more
Due to its sunny location and mild climate, the hill of Sant'Ana in Lisbon was, since early times, the place of construction of religious and civil buildings. In the eighteenth century, near the former Santo António dos Capuchos Convent (later Hospital-HSAC), a Baroque palace was erected and later on rebuilt by the Melo e Abreu family (later Condes de Murça in the 19th century), whose noble rooms were decorated by a set of high quality tiles, concerned with iconographic and plasticity aspects. The transfer of the Melo e Abreu family to the parish of Santos-o-Velho and subsequent founding of the Asilo da Mendicidade, allowed the purchase of the building in order to expand the assistance space. Currently, the palace serves hospital's needs, with all the constraints resulting from the cohabitation between cultural heritage and professional medical care day life. Thus, Palace Melo e Abreu is a good case study, not only for the functional changes that it has been subjected to, but also for the rehabilitation measures for structural restoration and conservation made over time. For the assessment of its importance in terms of both heritage and scientific history, we will present an interdisciplinary study, including History of Art and Archaeometry; In this work (together with the history of the adaptation of the main floor of the Palace Melo e Abreu to an infirmary of the old asylum of mendacity) a first stage of the archaeometric approach is presented, comprising the compositional characterization (chemical and mineralogical) of both mortar and glazed tile body of selected panels. We believe that this paper will promote a deep reflection about the safeguard and future heritage policies of this kind of Lisbon's hospitals.
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This paper aims to examine some of the ways to introduce the “first naturalism” in Portugal and the evolution to the proto-baroque world, taking into account the various mechanisms of aesthetic exchange. In this list, we took into account... more
This paper aims to examine some of the ways to introduce the “first naturalism” in Portugal and the evolution to the proto-baroque world, taking into account the various mechanisms of aesthetic exchange.
In this list, we took into account the journeys of Portuguese painters in neighboring territory and also the presence of Spanish and Italian artists at the service of the Spanish crown in Portugal. The importation of works of art and prints circulation is a factor to adduce in the construction and adaptation of a growing taste for painting “natural”. Finally, the approach to the issue of works of art collected and enrolled in inventories (still present in private estates) enables us to contribute to a clarification of the decisive elements in the formation and updating of the aesthetic taste of the time.
In this list, we took into account the journeys of Portuguese painters in neighboring territory and also the presence of Spanish and Italian artists at the service of the Spanish crown in Portugal. The importation of works of art and prints circulation is a factor to adduce in the construction and adaptation of a growing taste for painting “natural”. Finally, the approach to the issue of works of art collected and enrolled in inventories (still present in private estates) enables us to contribute to a clarification of the decisive elements in the formation and updating of the aesthetic taste of the time.
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Research Interests: Painting and Portraiture
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La creación y el coleccionismo de copias pictóricas han sido tradicionalmente hechos poco considerados por la historiografía artística. Sin embargo, desde una visión contextual y actualizada, los múltiples fenómenos en torno a la copia... more
La creación y el coleccionismo de copias pictóricas han sido tradicionalmente hechos poco considerados por la historiografía artística. Sin embargo, desde una visión contextual y actualizada, los múltiples fenómenos en torno a la copia pictórica se desvelan extremadamente esclarecedores de los procesos de difusión de modelos y estilos, de las preferencias iconográficas y de gusto, y de la alta apreciación de determinados maestros. Desde una óptica renovada, este congreso internacional se centrará en el análisis de las copias coleccionadas por los monarcas españoles entre los siglos XVI y XVII, así como en los procesos de copiado de las obras más carismáticas de la pinacoteca regia.
Plazo de inscripción: del 23 de mayo al 20 de junio de 2017.
Fechas de celebración: 26 y 27 de junio de 2017.
Horario: lunes, de 9.30 a 19.00 hs, y martes, de 10.30 a 19:00 hs.
Más información, programa e inscripciones: https://www.museodelprado.es/actualidad/actividad/las-copias-de-obras-maestras-de-la-pintura-en-las/958b1344-9637-4347-bb37-0615aaf7ed7d
Plazo de inscripción: del 23 de mayo al 20 de junio de 2017.
Fechas de celebración: 26 y 27 de junio de 2017.
Horario: lunes, de 9.30 a 19.00 hs, y martes, de 10.30 a 19:00 hs.
Más información, programa e inscripciones: https://www.museodelprado.es/actualidad/actividad/las-copias-de-obras-maestras-de-la-pintura-en-las/958b1344-9637-4347-bb37-0615aaf7ed7d
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The main objective of the present work is to establish a correlation between the characteristics of the ceramic body of ancient tiles and the workshop where they were made. The work was carried out with tiles from the Museu Nacional do... more
The main objective of the present work is to establish a correlation between the characteristics of the ceramic body of ancient tiles and the workshop where they were made. The work was carried out with tiles from the Museu Nacional do Azulejo collection, but the aim is to study the most important period of the history of tiles in Portugal, the first quarter of the 18 th century, the so called Ciclo dos Mestres (Master's Cycle). In the present work, we make use of SEM-EDS and DRX to determine the major constituents of the ceramic body, as well as to evaluate the procedure used to produce the tiles. Signed and unsigned tiles were used. The analysis of the chemical composition, mineralogical phases, shape and size of particles combined with historical information allowed to conclude that the tiles of the panel Vista de Lisboa (MNAz inv. 1) and Senhora dos Corações have identical global chemical composition but not the same mineralogical characteristics. Two other tiles featuring King Charles II (MNAz inv. 691) and his wife Queen Catherine of Braganza (MNAz inv. 690), present different properties, which indicate another provenience of the clay materials and, probably, another workshop and painter.