Giuseppina Raggi
University of Coimbra, Centre for Social Studies, Faculty Member
- History of Art and Architecture, Colonial Art and Portuguese and Spanish Empires, Baroque Wall Painting (Quadratura), 17th 18th century Italian architecture, Portuguese Architecture, Baroque art and architecture, and 19 moreHistory of Perspective in Painting, History Portuguese and Spanish, Decorative Arts, Engraving, Cenografia, Ephemeral architecture, Quadraturismo, 18th-century Italian Opera, Quadratura in Madrid, 18th Italian and Portuguese architecture, !7th century Italian painting, History of architecture, Art History, Royal Court Theatre, Opera, Stage Design, Musical Theatre, Architectural History, and Musicologyedit
- Art historianedit
The e-Journal of Portuguese History (e-JPH) (ISSN: 1645-6432) is an international peer-reviewed scholarly journal with the objective of providing publication of work on historical subjects, especially those concerning themes and topics of... more
The e-Journal of Portuguese History (e-JPH) (ISSN: 1645-6432) is an international peer-reviewed scholarly journal with the objective of providing publication of work on historical subjects, especially those concerning themes and topics of Portuguese history analyzed in a comparative perspective.
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Uma nova visão sobre as artes e a arquitetura durante o reinado de D. João V de Portugal e sobre os projetos de Filippo Juvarra para Portugal
Research Interests: Art History, Theatre Studies, Architecture, Early Modern History, Portuguese History, and 9 moreItalian art, Architectural History, Architecture in Italian Renaissance and Baroque Art, Portuguese Art, Baroque art and architecture, 18th Century, 17th 18th century Italian architecture, History of Portuguese Architecture, and História Da Arquitetura E Do Urbanismo
Dealing with a complex king, this edited collection elucidates a monarch’s vision of Rome that deeply affected his political choices and cultural policy during the first half of the eighteenth-century. John V of Portugal became king in... more
Dealing with a complex king, this edited collection elucidates a monarch’s vision of Rome that deeply affected his political choices and cultural policy during the first half of the eighteenth-century. John V of Portugal became king in 1707 in a pivotal moment for the European balance of power. The Kingdom of Portugal was still demanding the same privileges as its powerful neighbours and the relation with Rome was considered a vehicle to obtain them. Arts and music had a special and unprecedented place in the king’s plans and this book approaches that dynamic from several interdisciplinary perspectives.
The unifying thread across this book’s chapters remains the omnipresence of Rome as a paradigm on several levels: political, religious, intellectual, artistic, and musical. Rather than providing an exhaustive analysis of the period as a whole, this study offers a fresh approach for English readers to this classic, but little known, topic in Portuguese national historiography.
The unifying thread across this book’s chapters remains the omnipresence of Rome as a paradigm on several levels: political, religious, intellectual, artistic, and musical. Rather than providing an exhaustive analysis of the period as a whole, this study offers a fresh approach for English readers to this classic, but little known, topic in Portuguese national historiography.
Research Interests: History, Musicology, Art History, Early Modern History, Eighteenth Century History, and 15 morePolitical History, History of Art, Baroque Music, Baroque opera, Baroque art and architecture, 18th Century, Eighteenth-Century Music, Portugal (History), Baroque Architecture, Historical Musicology, Grand Tour, Italian Academies, Bragança, Modern Rome, and John V of Portugal
Um tesouro escondido no coração de Lisboa: a capela da Bemposta guarda uma das pinturas mais ricas de significado artístico e político do último quarto do século XVIII. Entre ventos revolucionários e reafirmação do poder monárquico, o... more
Um tesouro escondido no coração de Lisboa: a capela da Bemposta guarda uma das pinturas mais ricas de significado artístico e político do último quarto do século XVIII. Entre ventos revolucionários e reafirmação do poder monárquico, o imponente painel do altar-mor sintetiza as políticas do governo de D. Maria I através de um retrato coletivo de excelente qualidade pictórica.
A família real, retratada no seu conjunto com os principais membros do governo mariano, torna-se espelho de fé, bom governo e virtude para os assistidos da nova fundação da Real Casa Pia. Neste grupo de órfãos e mulheres, a arte do retratista Giuseppe Trono (Turim 1739 - Lisboa 1810) carrega-se de força plástica restituindo visualmente a justificação e a finalidade das políticas marianas: a exaltação do culto do Sagrado Coração de Jesus, instituído em 1778 pelo papa Pio VI no reino de Portugal e nos seus vastos domínios ultramarinos.
O livro revela, também, a estreita correlação compositiva e iconográfica entre a pintura da capela da Bemposta e a do altar-mor da basílica da Estrela, pintada em Roma por Pompeo Batoni (Lucca 1708 - Roma 1787).
A família real, retratada no seu conjunto com os principais membros do governo mariano, torna-se espelho de fé, bom governo e virtude para os assistidos da nova fundação da Real Casa Pia. Neste grupo de órfãos e mulheres, a arte do retratista Giuseppe Trono (Turim 1739 - Lisboa 1810) carrega-se de força plástica restituindo visualmente a justificação e a finalidade das políticas marianas: a exaltação do culto do Sagrado Coração de Jesus, instituído em 1778 pelo papa Pio VI no reino de Portugal e nos seus vastos domínios ultramarinos.
O livro revela, também, a estreita correlação compositiva e iconográfica entre a pintura da capela da Bemposta e a do altar-mor da basílica da Estrela, pintada em Roma por Pompeo Batoni (Lucca 1708 - Roma 1787).
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The extensive research on the artistic work of the Italian painters Giuseppe Trono (Turin, 1739-Lisbon, 1810) and Bernardino Gagliardini (Vocca, 1757-Lisbon, 1833) in Lisbon, focusing into the portrait painting activity during the reign... more
The extensive research on the artistic work of the Italian painters Giuseppe Trono (Turin, 1739-Lisbon, 1810) and Bernardino Gagliardini (Vocca, 1757-Lisbon, 1833) in Lisbon, focusing into the portrait painting activity during the reign of the queen Mary I, comes to confi rm the artistic collaboration between Trono, the leading portrait painter of the royal family since 1784, and Gagliardini or "Throno pequeno" (Machado, 1823), so-called because of his main activity into the production of miniatures. The work of both painters plays a considerable role in understanding the Portuguese artistic context and its implementation, pursued by the queen Mary I.
This article aims to rethink the process of the building and decoration of the Coimbra University Library known as the Biblioteca Joanina (1716-1728). It focuses on the artistic and cultural context of the first half of the reign of King... more
This article aims to rethink the process of the building and decoration of the Coimbra University Library known as the Biblioteca Joanina (1716-1728). It focuses on the artistic and cultural context of the first half of the reign of King John V (1707 – around 1728) and on the impact of the projects of the Italian architect Filippo Juvarra for the new city of Lisbon (1719). The building of the Biblioteca Joanina integrated the renovation plan in all the fields of knowledge promoted by King John V, Queen Maria Ana of Austria and the Portuguese court. Thus, this paper offers a new interpretation of the iconographic program, based on a military metaphor. The Library is like a fortress of the Sapience to be conquered by the student-soldier. Inside, the space of knowledge is divided into three progressive stages: the library (Imago Bibliotecae), the academic stage (Universitas), and the encyclopedic knowledge (Enciclopedia); however the true and final goal of the conquest isto achieve the wisdom of the Sapient Christian (Sabio Christão) as described by Father Rafael Bluteau in his Prosas Académicas… (1717-1728). At the end of his journey, with his weapons put down at the feet of the monarch, the student-conqueror reflects himself in the portrait of King John V, the Wise Christian King. Moreover, the paper highlights the following topics: 1) the artistic connections with the Italian and Austrian architecture; 2) the close relationship between the ceiling paintings by António Simões Ribeiro and the Bolognese painting tradition of “quadratura”; 3) the lack of books supplies after the completion of the Coimbra University Library and during the second half of the reign of King John V; 4) the (re)interpretation of the ceiling paintings by António Augusto Gonçalves in the 19th century; 5) the restoration works promoted by the Portuguese State between 1931 and 1934, and the involvement of the painter Joaquim Lopes, Professor of Arts in Porto.
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Starting from the analysis of the sociocultural impact determined by the arrival in Portugal of the Queen D. Maria Ana of Austria (1708-1754), this essay focuses on the artistic and architectural policies of King D. João V (1707-1750) and... more
Starting from the analysis of the sociocultural impact determined by the arrival in Portugal of the Queen D. Maria Ana of Austria (1708-1754), this essay focuses on the artistic and architectural policies of King D. João V (1707-1750) and of King D. José I until the Lisbon’s earthquake (1755). Thanks to new sources and drawings, the article aims to rethink the critical dichotomies between the Johannine and Josephine reigns, also highlighting the centrality of the cultural action of the Queen D. Maria Ana of Austria. To demonstrate it six crucial issues are focused: 1) The precocious introduction of Italian music, dance and theatre, thanks to the cultural model of the imperial court of Vienna; 2) The strong impact of the Filippo Juvarra’s projects for Lisbon and its connection with the design of a territorial system of royal residences; 3) The change of D. João V’s architectural policy coinciding with the (re)start of the royal construction site in Mafra (1728-1729), and the persistence of the court sociability with theatrical and operatic representations promoted by the Queen in the royal palace of Ribeira until 1742; 4) The continuity between the previous cultural action of the Queen Mother and the artistic-theatrical policy implemented by
D. José I between 1750 and 1755; 5) The analysis of three new drawings for the integral reconstruction of the Real Opera designed by Giovan Carlo Sicinio Bibiena and two unpublished descriptions of the royal theater
of Salvaterra de Magos; 6) The urban, functional and symbolic reconversion of the access to the Royal Opera in the area of the royal palace of Ribeira in Lisbon.
D. José I between 1750 and 1755; 5) The analysis of three new drawings for the integral reconstruction of the Real Opera designed by Giovan Carlo Sicinio Bibiena and two unpublished descriptions of the royal theater
of Salvaterra de Magos; 6) The urban, functional and symbolic reconversion of the access to the Royal Opera in the area of the royal palace of Ribeira in Lisbon.
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The article highlights the role of Queen Maria Anna of Austria (Vienna 1683 – Lisbon 1754) in introducing the taste for Italian opera in Portugal. As Queen of Portugal from 1708, through the letters written by the imperial representative... more
The article highlights the role of Queen Maria Anna of Austria (Vienna 1683 – Lisbon 1754) in introducing the taste for Italian opera in Portugal. As Queen of Portugal from 1708, through the letters written by the imperial representative Giuseppe Zignoni, it is possible to reconstruct the process of confluence between
two different musical traditions (the Portuguese, based on Spanish tradition, and the Austrian, based on Italian music and opera), and the renovation of Portuguese court culture and society. From the time of the arrival of the Austrian Archduchess, court life, music and dance were extensively renewed at the royal palace of the Ribeira in Lisbon. The Queen’s court, composed of Portuguese and German-Austrian Ladies, was the hub of the transformation from Spanish theatre to Italian opera. The article proposes a new chronology of the performance of music, opera and dance during the first half of the eighteenth century in Portugal, and it rethinks socio-cultural dynamics in the light of the artistic taste and policy of the queen.
two different musical traditions (the Portuguese, based on Spanish tradition, and the Austrian, based on Italian music and opera), and the renovation of Portuguese court culture and society. From the time of the arrival of the Austrian Archduchess, court life, music and dance were extensively renewed at the royal palace of the Ribeira in Lisbon. The Queen’s court, composed of Portuguese and German-Austrian Ladies, was the hub of the transformation from Spanish theatre to Italian opera. The article proposes a new chronology of the performance of music, opera and dance during the first half of the eighteenth century in Portugal, and it rethinks socio-cultural dynamics in the light of the artistic taste and policy of the queen.
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In the Austrian State Archive in Vienna, there is a collection of letters written by Giuseppe Zignoni, Austrian royal envoy to the court of Lisbon from 1704 to 1724, the year of his death. The relationship between the two courts were... more
In the Austrian State Archive in Vienna, there is a collection of
letters written by Giuseppe Zignoni, Austrian royal envoy to
the court of Lisbon from 1704 to 1724, the year of his death.
The relationship between the two courts were intense during
the first half of the eighteenth century, thanks to the marriage
between the King of Portugal, John V (1689-1750) and the
Austrian archduchess Maria Anna of Hapsburg (1683-1754).
In Zignoni’s correspondence, written in Italian, there is much
news on the stay of Filippo Juvarra in Lisbon (January-July 1719)
and on the projects he drew up for King John V.
As a result, an unknown picture emerges which allows us to
further study facts referred to in other sources (mainly the
letters of the apostolic nuncio published by Aurora Scotti in
1973), but also to enhance new opinions and evaluations
of Juvarra’s stay. The Sicilian architect planned the western
part of the city of Lisbon. Indeed, he not only concerned himself
with the Patriarchal Basilica and Royal Palace but also with
the customs, the Royal Pleasure-ground Residence outside the
city, and with the reformulation of the Mafra project. These
unpublished documents confirm the far-reaching intervention
of Juvarra, also providing useful information on the
organization of the yards and the need to call workers from
Lombardy. The unpublished material is contextualized in the
process of the artistic-cultural opening that characterized
the first half of the reign of John V, while in the appendix the
compilation of the documents related to the activity of Filippo
Juvarra in Portugal is provided.
letters written by Giuseppe Zignoni, Austrian royal envoy to
the court of Lisbon from 1704 to 1724, the year of his death.
The relationship between the two courts were intense during
the first half of the eighteenth century, thanks to the marriage
between the King of Portugal, John V (1689-1750) and the
Austrian archduchess Maria Anna of Hapsburg (1683-1754).
In Zignoni’s correspondence, written in Italian, there is much
news on the stay of Filippo Juvarra in Lisbon (January-July 1719)
and on the projects he drew up for King John V.
As a result, an unknown picture emerges which allows us to
further study facts referred to in other sources (mainly the
letters of the apostolic nuncio published by Aurora Scotti in
1973), but also to enhance new opinions and evaluations
of Juvarra’s stay. The Sicilian architect planned the western
part of the city of Lisbon. Indeed, he not only concerned himself
with the Patriarchal Basilica and Royal Palace but also with
the customs, the Royal Pleasure-ground Residence outside the
city, and with the reformulation of the Mafra project. These
unpublished documents confirm the far-reaching intervention
of Juvarra, also providing useful information on the
organization of the yards and the need to call workers from
Lombardy. The unpublished material is contextualized in the
process of the artistic-cultural opening that characterized
the first half of the reign of John V, while in the appendix the
compilation of the documents related to the activity of Filippo
Juvarra in Portugal is provided.
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Na correspondência trocada entre o astrónomo Giovanni Angelo Brunelli (1722-1804) e o botânico Ferdinando Bassi (1710-1774), ambos bolonheses, encontram-se algumas informações que obrigam a reformular as hipóteses relativas à autoria do... more
Na correspondência trocada entre o astrónomo Giovanni
Angelo Brunelli (1722-1804) e o botânico Ferdinando Bassi
(1710-1774), ambos bolonheses, encontram-se algumas informações
que obrigam a reformular as hipóteses relativas à
autoria do projeto do Seminário Diocesano de Coimbra. A
principal novidade que essas missivas trazem é o testemunho
da estada do arquiteto Giuseppe Antonio Landi (1713-1791)
em Coimbra durante, pelo menos, quatro meses, de julho
até novembro de 1751. O artigo demonstra o importante papel desempenhado pelo arquiteto e cenógrafo bolonhês Giuseppe António Landi, num período crucial para o projeto do Seminário de Coimbra. Este edifício representa a única obra de arquitetura construída durante a passagem de Landi por Portugal, antes de embarcar para a expedição à Amazónia.
Angelo Brunelli (1722-1804) e o botânico Ferdinando Bassi
(1710-1774), ambos bolonheses, encontram-se algumas informações
que obrigam a reformular as hipóteses relativas à
autoria do projeto do Seminário Diocesano de Coimbra. A
principal novidade que essas missivas trazem é o testemunho
da estada do arquiteto Giuseppe Antonio Landi (1713-1791)
em Coimbra durante, pelo menos, quatro meses, de julho
até novembro de 1751. O artigo demonstra o importante papel desempenhado pelo arquiteto e cenógrafo bolonhês Giuseppe António Landi, num período crucial para o projeto do Seminário de Coimbra. Este edifício representa a única obra de arquitetura construída durante a passagem de Landi por Portugal, antes de embarcar para a expedição à Amazónia.
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ABSTRACT The extensive work of the Italian artist Giuseppe Trono (Turin, 1739-Lisbon, 1810) as leading portrait painter at the Portuguese court at the end of the Eighteenth century plays a considerable role in the construction of the... more
ABSTRACT The extensive work of the Italian artist Giuseppe Trono (Turin, 1739-Lisbon, 1810) as leading portrait painter at the Portuguese court at the end of the Eighteenth century plays a considerable role in the construction of the image of the royal family and its dissemination by printings and miniatures. Trono subjects also included the Portuguese art-loving élite, where he became fashionable and found commissions of portrait paintings and miniatures. The main altarpiece of the chapel at Bemposta royal palace, displaying an impressive ensemble of portraits of the royal family and the folk of Lisbon, is an extraordinary and unique case in the Portuguese eighteenth century art, which complex iconography shows the politics of the queen Maria I, leaded by the devotion to the Holy Heart of Jesus.
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Tra il 1582 e il 1587 il cantiere della chiesa gesuita di San Rocco a Lisbona divenne un centro di sperimentazione d’avanguardia della pittura di architetture in prospettiva. L’articolo completa lo studio precedente, presentato nel n. 887... more
Tra il 1582 e il 1587 il cantiere della chiesa gesuita di San Rocco a Lisbona divenne un centro di sperimentazione d’avanguardia della pittura di architetture in prospettiva. L’articolo completa lo studio precedente, presentato nel n. 887 di Arte Cristiana, stabilendo l’anno 1588 come terminus ante quem della pittura del soffitto. L’ideazione e la realizzazione dell’opera seguì una tempistica stringente, che unì l’interesse per la novità della pittura di architetture in prospettiva da parte dei committenti (1586), alla progettazione di tre disegni e alla scelta di quello di quadratura (1587) e alla sua immediata esecuzione (1588), motivata anche dall’urgenza di smontare l’imponente impalcatura innalzata sin dal 1573. La predilezione per la quadratura da parte dei committenti non precluse la possibilità di elaborare programma iconografico, dotto e articolato, incentrato su temi eucaristici. L’Esaltazione della Santa Croce e degli strumenti del martirio, dipinta al centro del soffitto, costituisce il cuore significante della composizione e stabilisce una profonda connessione con le raffigurazioni delle architetture effimere innalzate per la solenne donazione delle reliquie del 25 gennaio 1588. Il preposito Pedro da Fonseca S.I., filosofo e teologo di grande levatura, può essere indicato come l’ideatore dell’intera operazione e come l’autore dell’edificio simbolico-iconografico che la sperimentazione della quadratura seppe ‘elevare’ sul soffitto di San Rocco.
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Tra il 1582 e il 1587 il cantiere della chiesa gesuita di San Rocco a Lisbona divenne un centro di sperimentazione d’avanguardia della pittura di architetture in prospettiva. L’articolo propone una nuova datazione dell’opera,... more
Tra il 1582 e il 1587 il cantiere della chiesa gesuita di San Rocco a Lisbona divenne un centro di sperimentazione d’avanguardia della pittura di architetture in prospettiva. L’articolo propone una nuova datazione dell’opera, circostanziandola agli anni 1586 e 1588. Ciò permette di contestualizzarla nell’ambito delle strategie di affermazione del potere di Filippo II di Spagna, divenuto re di Portogallo nel 1580 con il nome di Filippo I. In questa occasione i gesuiti lusitani giocarono un ruolo fondamentale insieme all’aristocratico e diplomatico luso-spagnolo Juan de Borja che, nel 1587, donò alla Casa inaziana il suo prezioso tesoro di reliquie. La pittura del soffitto venne realizzata in sintonia con questo evento dal pittore portoghese Francisco Venegas, co-adiuvato probabilmente da Amaro do Vale. La carica innovativa di quest’opera può essere meglio intesa se messa in relazione con la pubblicazione in Italia del trattato di Vignola-Danti Le due regole della prospettiva pratica (1583), con la presenza nel cantiere dell’architetto di origine bolognese Filippo Terzi come sovrintendente dei lavori di San Rocco e con la predilezione, specificamente portoghese, verso l’architettura costruita o dipinta. L’uso della prospettiva è fulcrale per la riuscita dell’opera e l’incontro tra Terzi e Venegas permise l’elaborazione di una pittura d’avanguardia, unica nel panorama europeo dell’epoca e comparabile solo con le sperimentazioni contemporanee in atto nei territori italiani.
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In 8th June, 1719, Lisbon city was transformed in a holy space, where all Portuguese society, by hierarchic order, venerated the holy Eucharist during the Corpus Domini procession. Traditionally this historical fact was interpreted as... more
In 8th June, 1719, Lisbon city was transformed in a holy space, where all Portuguese society, by hierarchic
order, venerated the holy Eucharist during the Corpus Domini procession. Traditionally this historical fact was
interpreted as evidence of king John V’s devotion, but it was much more. The new aesthetic organization of
Corpus Domini’s procession represented, through the arts, the power of portuguese monarchy towards the Holy
See and the other european royal crowns and it reflected the dynamic historical context of second and third
decades of Eighteen century. The ephemeral architectures built for occasion have been traditionally attributed to
the German architect João Frederico Ludovice. The essay problematizes this attribution, focusing on the Filippo
Juvarra’s role, the italian architect who has been invited by the portuguese king to project the new royal palace,
patriarchal basilica and palace and he was active in Lisbon between January and July 1719.
order, venerated the holy Eucharist during the Corpus Domini procession. Traditionally this historical fact was
interpreted as evidence of king John V’s devotion, but it was much more. The new aesthetic organization of
Corpus Domini’s procession represented, through the arts, the power of portuguese monarchy towards the Holy
See and the other european royal crowns and it reflected the dynamic historical context of second and third
decades of Eighteen century. The ephemeral architectures built for occasion have been traditionally attributed to
the German architect João Frederico Ludovice. The essay problematizes this attribution, focusing on the Filippo
Juvarra’s role, the italian architect who has been invited by the portuguese king to project the new royal palace,
patriarchal basilica and palace and he was active in Lisbon between January and July 1719.
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Considerada en ocasiones como “la piel de la arquitectura”, la pintura mural es una de las técnicas pictóricas más elocuentes de la Historia del Arte debido, en parte, a su papel como configurador de la imagen y del espacio interior de... more
Considerada en ocasiones como “la piel de la arquitectura”, la pintura mural es una de las técnicas pictóricas más elocuentes de la Historia del Arte debido, en parte, a su papel como configurador de la imagen y del espacio interior de los edificios.
Con la intención de profundizar en el prolífico campo de la pintura mural, en 2017 se organizó el Seminario ‘Pintura mural andaluza en la Edad Moderna’ en la Universidad de Jaén, dirigido por José Manuel Almansa Moreno y Nuria Martínez Jiménez, y en la que participaron especialistas de diversas universidades españolas. Durante el mismo se profundizaría en las principales manifestaciones pictóricas de Andalucía en la Edad Moderna, analizando variadas cuestiones como serían los materiales y las técnicas, medidas de conservación, modelos iconográficos, influencias artísticas, etc. Esta publicación recoge los aportes de este Seminario -sumando otros trabajos de otros reconocidos investigadores-, con el fin de poner en valor y salvaguardar este patrimonio histórico, en ocasiones denostado e infravalorado, pero de gran riqueza cultural.
Con la intención de profundizar en el prolífico campo de la pintura mural, en 2017 se organizó el Seminario ‘Pintura mural andaluza en la Edad Moderna’ en la Universidad de Jaén, dirigido por José Manuel Almansa Moreno y Nuria Martínez Jiménez, y en la que participaron especialistas de diversas universidades españolas. Durante el mismo se profundizaría en las principales manifestaciones pictóricas de Andalucía en la Edad Moderna, analizando variadas cuestiones como serían los materiales y las técnicas, medidas de conservación, modelos iconográficos, influencias artísticas, etc. Esta publicación recoge los aportes de este Seminario -sumando otros trabajos de otros reconocidos investigadores-, con el fin de poner en valor y salvaguardar este patrimonio histórico, en ocasiones denostado e infravalorado, pero de gran riqueza cultural.
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Call for Papers INTERNATIONAL CONFERENCE Eighteen Century Theatre Capitals : from Lisbon to St. Petersburg Queluz National Palace (June 27th - 29th , 2019) Organization: Divino Sospiro - Centro de Estudos Musicais Setecentistas... more
Call for Papers
INTERNATIONAL CONFERENCE
Eighteen Century Theatre Capitals : from Lisbon to St. Petersburg
Queluz National Palace (June 27th - 29th , 2019)
Organization:
Divino Sospiro - Centro de Estudos Musicais Setecentistas de Portugal
Scientific Committee:
Maria Ida Biggi, Francesco Cotticelli, Paologiovanni Maione, Cristina Fernandes,
Giuseppina Raggi, Iskrena Yordanova, Ricardo Bernardes
Key-note Speakers:
Solveig Serre
(Centre de Musique Baroque de Versailles, France)
Andrea Merlotti
(Centro di Studi delle Residenze Reali Sabaude, Reggia di Venaria, Italy)
Official languages of the conference are Portuguese, English, Italian and Spanish.
Abstracts in Word format (.doc), should not exceed 300 words. Please enclose in the same file brief curriculum vitae of 150 words max. Please provide your name and surname, postal address, e-mail and telephone number, as well as your institutional affiliation.
Deadline for sending abstracts is March 15th, 2019
E-mail: cemsp@sapo.pt
Web: https://www.divinosospiro.org/cemsp.html
The scientific board will examine all abstracts by March 31st, 2019 and contributors will be informed immediately thereafter.
INTERNATIONAL CONFERENCE
Eighteen Century Theatre Capitals : from Lisbon to St. Petersburg
Queluz National Palace (June 27th - 29th , 2019)
Organization:
Divino Sospiro - Centro de Estudos Musicais Setecentistas de Portugal
Scientific Committee:
Maria Ida Biggi, Francesco Cotticelli, Paologiovanni Maione, Cristina Fernandes,
Giuseppina Raggi, Iskrena Yordanova, Ricardo Bernardes
Key-note Speakers:
Solveig Serre
(Centre de Musique Baroque de Versailles, France)
Andrea Merlotti
(Centro di Studi delle Residenze Reali Sabaude, Reggia di Venaria, Italy)
Official languages of the conference are Portuguese, English, Italian and Spanish.
Abstracts in Word format (.doc), should not exceed 300 words. Please enclose in the same file brief curriculum vitae of 150 words max. Please provide your name and surname, postal address, e-mail and telephone number, as well as your institutional affiliation.
Deadline for sending abstracts is March 15th, 2019
E-mail: cemsp@sapo.pt
Web: https://www.divinosospiro.org/cemsp.html
The scientific board will examine all abstracts by March 31st, 2019 and contributors will be informed immediately thereafter.
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A atividade em Portugal do pintor turinês Giuseppe Trono (por vezes referido na historiografia portuguesa como Troni) foi recentemente investigada, trazendo à luz um conjunto insuspeito de obras (Raggi, Degortes 2017). Trono trabalhou em... more
A atividade em Portugal do pintor turinês Giuseppe Trono (por vezes referido na historiografia portuguesa como Troni) foi recentemente investigada, trazendo à luz um conjunto insuspeito de obras (Raggi, Degortes 2017). Trono trabalhou em Portugal entre 1785 e 1810, ano do seu falecimento. Contratado como pintor régio em 1784, desenvolveu a sua atividade de retratista de corte principalmente ao longo da primeira década de vida artística em Portugal (1785-1795). Foi encarregado de renovar a arte do retrato de corte, realizando dezenas de pinturas dos membros da família real em diferentes formatos e seguindo um esquema de produção que permitia dispor de variações do mesmo retratos nas diversas residências régias.
Quando a corte embarcou-se para Rio de Janeiro, o pintor turinês não se juntou à comitiva e tentou regressar a Itália. Alguns dos seus retratos, porém, foram levados para o Brasil.
A comunicação focará sobre duas diferentes vias de transferência. A primeira diz respeito à história política de Portugal e do Brasil nas primeiras décadas do século XIX e ao processo de integração nas atuais coleções do património nacional brasileiro de alguns retratos realizados por Giuseppe Trono pertencentes à antiga coleção real. A segunda via de saída de retratos régios de autoria de Giuseppe Trono está relacionada com a história de Portugal do século XX e tem a ver com à circulação de obras do patrimônio português nos espaços das embaixadas de Portugal no Brasil. Durante os anos Sessenta foram enviados retratos pertencentes ao patrimônio nacional português. Este fenômeno, por um lado, determinou o apagamento da memória coletiva dessas obras; por outro lado, criou implicitamente uma irradiação territorial entre os dois lados do Atlântico que merece ser investigada no âmbito das dinâmicas políticas do século XX.
Quando a corte embarcou-se para Rio de Janeiro, o pintor turinês não se juntou à comitiva e tentou regressar a Itália. Alguns dos seus retratos, porém, foram levados para o Brasil.
A comunicação focará sobre duas diferentes vias de transferência. A primeira diz respeito à história política de Portugal e do Brasil nas primeiras décadas do século XIX e ao processo de integração nas atuais coleções do património nacional brasileiro de alguns retratos realizados por Giuseppe Trono pertencentes à antiga coleção real. A segunda via de saída de retratos régios de autoria de Giuseppe Trono está relacionada com a história de Portugal do século XX e tem a ver com à circulação de obras do patrimônio português nos espaços das embaixadas de Portugal no Brasil. Durante os anos Sessenta foram enviados retratos pertencentes ao patrimônio nacional português. Este fenômeno, por um lado, determinou o apagamento da memória coletiva dessas obras; por outro lado, criou implicitamente uma irradiação territorial entre os dois lados do Atlântico que merece ser investigada no âmbito das dinâmicas políticas do século XX.
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Giuseppe Trono’s painting in the Bemposta chapel, produced in 1791-1792, is the most representative artwork related to the social policies implemented by the Queen Mary I. This article focuses on the historical and artistic analyses to... more
Giuseppe Trono’s painting in the Bemposta chapel, produced in 1791-1792, is the most representative artwork related to the social policies implemented by the Queen Mary I. This article focuses on the historical and artistic analyses to frame the political and religious context, and to clarify its misunderstood iconography. The cult of the Sacred Heart, instituted in 1779 by Pope Pius VI, is crucial to reframe the meaning of the painting. The new approach offers an original interpretation of the black woman who is represented in it. Her identity and biography are brought to the light. Her subjectivity is compared to the more known biographies of the enslaved black dwarfs, who lived at the Portuguese royal court, mainly the female dwarf Rosa of the Sacred Heart, portraited in Mascarada Nupcial by José Conrado Roza (1788). Her in/visibility is compared, also, to the ‘silence’ about the black presence in the painting The earthquake of 1755 by João Glama (2nd half of 18th century).
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Research Interests: Painting, Seventeenth Century, Baroque Art and Literature, Early Modern Italy, Portugal, and 11 morePerspective, Eighteenth Century Studies, Brasil Colonial, Madrid, Bologna, Quadrature, Baroque Wall Painting (Quadratura), Cidade de Lisboa, Historia Moderna De España, Angelo Michele Colonna, and Agostino Mitelli
A few weeks after the murder of George Floyd, anti-racist protests on colonial statues inspired by the Black Lives Matter (BLM) movement took place in Lisbon, a city where most of the Portuguese Afro-descendant population lives. The most... more
A few weeks after the murder of George Floyd, anti-racist protests on colonial statues inspired by the Black Lives Matter (BLM) movement took place in Lisbon, a city where most of the Portuguese Afro-descendant population lives. The most contentious intervention targeted Father Antonio Vieira (Lisbon 1608 – Baia 1697), a missionary Jesuit priest, great figure of Baroque Portuguese literature and language, colonial diplomat and politician. The extensive scholarship on his life and activities reveal Father Vieira as an extremely complex and controversial historical figure.
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The 9 th international conference at the Queluz National Palace organized by DS-CEMSP aims to investigate the role of women in the musical and theatrical worlds of the early modern age, with special reference to the 17 th and 18 th... more
The 9 th international conference at the Queluz National Palace organized by DS-CEMSP aims to investigate the role of women in the musical and theatrical worlds of the early modern age, with special reference to the 17 th and 18 th centuries. Theatrical practices favoured opportunities and emancipation processes which played significant roles in the imagery of and the stage production themselves. It is equally important to mention the patronage and the encouragement given to the performing arts by female sovereigns and nobles, who intended to promote the dialogue and the reflection between different contexts. Differences can be found in the educational methods, distinctions amid theory and practice or between the amateur and the professional milieu, yet they often merged to produce events destined to leave their mark on history. The conference promotes research into the careers of women as impresarios, singers, actresses, composers, no matter how resounding their activity was in their heydays. Emphasis is also placed on their travels, contacts, and repertoires, and on the strategies adopted by female patronage in order to support the organization (and the memory) of theatrical and musical events throughout the continent. TOPICS: Female performers: singers, instrumentalists, dancers and impresarios. Their roles and repertoires. Female composers, librettists and choreographers. The feminine in music: women as subjects in the musical literature. Women as music and theatre patrons. Political uses of female musical patronage.
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The Ribeira area represents the most significant place of colonialism in the city of Lisbon (Castro Henriques 2019). From its port originated the so-called Portuguese ‘discoveries’ which led to the establishment of a vast colonial empire... more
The Ribeira area represents the most significant place of colonialism in the city of Lisbon (Castro Henriques 2019). From its port originated the so-called Portuguese ‘discoveries’ which led to the establishment of a vast colonial empire and to the enslavement of six million people in Africa. The consequences of this difficult past deeply mark the portuguese Authorised Heritage Discourse (Smith 2006), something which is contested by decolonizing initiatives promoting counter-narratives (Rossa and Ribeiro 2015) that promote a plural history and more just societies. Life stories aim to show the entanglement of memory and cognitive justice (Santos 2014) in relation to social inequalities and racism in today’s Portugal.
Recent urban development plans renovated the centre of Lisbon without visibilizing the African presence in the city. The entanglement of this process with Rio de Janeiro, where live stories were collected with Afro-descendants linked to the Walongo Warf, highlight the rapid appropriation of the Warf by the Afro-descendant communities and the complexity of the public and social debate about this multicultural presence in Lisbon.
To further this debate, life stories in Lisbon include the reflections on the colonial past and on changing narratives by Innocenza Mata, professor at University of Lisbon (UL), and Isabel Castro Henriques, retired professor (UL). Kally Meru, guide of the biggest open art exposition in Europe, Quinta do Mocho, elaborates on the impact of art in the decolonization of a social housing quarter. The former president of Djass – Afro-descendent Association, elaborates about the process of conception and implementation of the Memorial of Homage to Enslaved Persons. Rosario Severo, head of educational services at the National Museum of Ethnology relates about the impact of decolonisation of intercultural education in museums.
Recent urban development plans renovated the centre of Lisbon without visibilizing the African presence in the city. The entanglement of this process with Rio de Janeiro, where live stories were collected with Afro-descendants linked to the Walongo Warf, highlight the rapid appropriation of the Warf by the Afro-descendant communities and the complexity of the public and social debate about this multicultural presence in Lisbon.
To further this debate, life stories in Lisbon include the reflections on the colonial past and on changing narratives by Innocenza Mata, professor at University of Lisbon (UL), and Isabel Castro Henriques, retired professor (UL). Kally Meru, guide of the biggest open art exposition in Europe, Quinta do Mocho, elaborates on the impact of art in the decolonization of a social housing quarter. The former president of Djass – Afro-descendent Association, elaborates about the process of conception and implementation of the Memorial of Homage to Enslaved Persons. Rosario Severo, head of educational services at the National Museum of Ethnology relates about the impact of decolonisation of intercultural education in museums.
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Território mais amplo do que os seus próprios limites geográficos, espaço de confluências e divergências, Salvador da Bahia oferece-se como lugar histórico de encruzilhadas e marco simbólico de encontros e desencontros entre... more
Território mais amplo do que os seus próprios limites geográficos, espaço de confluências e divergências, Salvador da Bahia oferece-se como lugar histórico de encruzilhadas e marco simbólico de encontros e desencontros entre historiografias. Como o título deste volume deixa transparecer, a cidade é entendida em conexão com outros espaços – baianos, americanos e africanos – e analisada sob novos ângulos. O que faz com que este livro seja uma partilha de estudos sob âmbitos diversos, predominando, entretanto, perspetivas que elegem, maioritariamente, como ponto de partida, geografias extraeuropeias.