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WINDOWS AND DOORS OF THE RESIDENCE AND ADMINISTRATION OF THE GRÃO-PARÁ’S GOVERNORS: THE MOVEMENT OF IMAGES IN ANTÔNIO JOSÉ LANDI
Full text linkInvestiga-se neste trabalho, a partir de uma perspectiva trans-histórica, como o arquiteto bolonhês Antônio José Landi (1713-1791) manejou modelos de matrizes ornamentais italianas de diferentes temporalidades e tradições estilísticas em seus desenhos para os projetos da Residência e Administração dos Governadores do Grão-Pará entre 1759 e 1767, na operação imagética de seu pathosformel. O trabalho analisa uma pequena seleção de duas pranchas que contêm desenhos de portas e janelas em elevação, executados por Landi no Brasil, parte da coletânea de desenhos dos projetos para a edifi cação, em comparação com 50 gravuras executadas como exercício profi ssional do arquiteto na Itália. Estas gravuras compõem um conjunto de imagens feitas a partir de desenhos de artistas italianos de destaque nos séculos XVI a XVIII, imagens sobreviventes que Landi escolheu ativamente como suas próprias referências a serem manejadas para constituição de sua própria identidade projetual.This work investigates, by a trans-historical perspective, how the Bolognese architect Antônio José Landi (1713-1791) managed models from Italian ornamental matrices of different temporalities and stylistic traditions in his drawings for the Residence and Administration of the Grão-Pará’s Governors’ (in Belém, Brazil), designed between 1759 and 1767, in the imagetic operation of his pathosformel. A strict selection of two plans are analyzed in this work, containing drawing of doors and windows in elevation, executed by Landi in Brazil, part of the collection of design drawings for the edification, comparing to 50 engravings executed as the architect’s professional exercise in Italy. These engravings compose an image collection made by the drawings of highlighted Italian artists of the 16th to 18th century, surviving images that Landi chose as his references to be operated on the constitution of his own design identit
AN ACCOUNT OF MICHAEL FRIED’S GROUP DISCUSSION WITH FLUL’S PHD STUDENTS FROM ART HISTORY AND THEORY OF LITERATURE
Full text linkThe modernist Art critic and Art historian Michael Fried was the fi rst invited speaker to the Lisbon Lectures in the Humanities, promoted by the School of Humanities of the University of Lisbon. Before presenting his conference ‘Facingness Meets Mindedness: On Manet’s Luncheon in the Studio and The Balcony’ regarding two paintings by Édouard Manet, Fried was also present in a fruitful group discussion with PhD students from Art History and Theory of Literature. The Art History doctoral candidates were able to present their questions, prepared beforehand in work sessions with Professor Pedro Lapa, regarding Professor Fried’s extensive body of work. By focusing mainly on his views as a critic, these notes by no means exhaust the matter, and will surely be be followed by more in-depth incursions of it. Many other matters came up during this discussion, such as Michael Fried’s historical investigations into Courbet, Manet, Caravaggio, and others. This brief account intends to give notice of this session and share it with the academic community, divulging Michael Fried’s coming to Portugal and his ideas.The modernist Art critic and Art historian Michael Fried was the fi rst invited speaker to the Lisbon Lectures in the Humanities, promoted by the School of Humanities of the University of Lisbon. Before presenting his conference ‘Facingness Meets Mindedness: On Manet’s Luncheon in the Studio and The Balcony’ regarding two paintings by Édouard Manet, Fried was also present in a fruitful group discussion with PhD students from Art History and Theory of Literature. The Art History doctoral candidates were able to present their questions, prepared beforehand in work sessions with Professor Pedro Lapa, regarding Professor Fried’s extensive body of work. By focusing mainly on his views as a critic, these notes by no means exhaust the matter, and will surely be be followed by more in-depth incursions of it. Many other matters came up during this discussion, such as Michael Fried’s historical investigations into Courbet, Manet, Caravaggio, and others. This brief account intends to give notice of this session and share it with the academic community, divulging Michael Fried’s coming to Portugal and his ideas
MURAL PAINTING IN LATE 18TH AND EARLY 19TH CENTURY IN BAIXA POMBALINA
Full text linkA Baixa pombalina e os edifícios que a integram, apresentam características únicas que os distinguem dentro do urbanismo lisboeta. Sendo uma zona da cidade bastante sensível do ponto de vista sísmico, a Baixa não tem sido deixada incólume a pressões de vária ordem e que geraram transformações, sobretudo no interior dos edifícios. Apesar disso, ainda hoje, nesses mesmos edifícios existem vestígios de algumas soluções decorativas, das quais se destacam o azulejo, o estuque e a pintura mural, constituindo esta última um capítulo pouco conhecido da História da Arte nacional. Importa conhecer e valorizar este património enquanto parte integrante de um plano construtivo abrangente, onde o elemento estético associado à própria arquitectura não foi esquecido. O presente artigo resulta da colaboração em trabalhos multidisciplinares, no âmbito do levantamento e caracterização histórico-artística do património integrado existente em alguns edifícios da Baixa pombalina, alvo de projectos de reabilitação arquitectónica. Baixa pombalina and its buildings have unique characteristics that distinguish them within Lisbon’s urbanism. Being a highly sensitive part of the city, from a seismic point of view, Baixa has not been left untouched by pressures of various order, which have generated transformations, especially inside the buildings. Nevertheless, even today, in these same buildings there are traces of some decorative solutions, such as tiles, stuccos and mural paintings, the latter being a little known chapter of the history of national art. It is important to know and value this heritage as part of a comprehensive construction plan, where the aesthetic element associated with the architecture itself has not been forgotten.This article results from the collaboration in multidisciplinary works, in the context of the survey and historical-artistic characterization of the integrated heritage existing in some buildings of Baixa Pombalina, target of architectural rehabilitation projects
THE IMAGE OF SOARES DOS REIS’ SCULPTURE IN ART HISTORY, ART CRITICISM AND LITERATURE: EPOCHS, MODELS AND REPRESENTATIONS
Full text linkA hundred thirty years after his dramatic death, António Soares dos Reis (ASR) remains a huge challenge for art history understanding and art criticism interpretation, since he has been seen simultaneously as “a Greek, […] a realist, […] a classical, […] and a naturalist” (Arroyo, 1899: 78). His major sculpture – O Desterrado – being “an existential work” (França, 1966: 454) escapes from the classic orthodox aesthetic analysis, standing apart from the typical sculptural work of late 19th century. Our hypothesis is that ASR art works like a Rorschach test, for the narratives referred to it, instead of unveiling its character, reveal the concepts and beliefs upon which successive art studies have been produced. No visual images are displayed in this text, since the aim of our study is to detect the mental images associated to the insights and models that art historians and other authors traditionally used to assess ASR’s artistic work.A hundred thirty years after his dramatic death, António Soares dos Reis (ASR) remains a huge challenge for art history understanding and art criticism interpretation, since he has been seen simultaneously as “a Greek, […] a realist, […] a classical, […] and a naturalist” (Arroyo, 1899: 78). His major sculpture – O Desterrado – being “an existential work” (França, 1966: 454) escapes from the classic orthodox aesthetic analysis, standing apart from the typical sculptural work of late 19th century. Our hypothesis is that ASR art works like a Rorschach test, for the narratives referred to it, instead of unveiling its character, reveal the concepts and beliefs upon which successive art studies have been produced. No visual images are displayed in this text, since the aim of our study is to detect the mental images associated to the insights and models that art historians and other authors traditionally used to assess ASR’s artistic work
CHURCH OF SANTA ENGRÁCIA, IN LISBON: FOUR WORK CONSTRACTS OF THE 17TH CENTURY NOT FULLY KNOWN
Full text linkO objetivo primeiro desta breve nota de investigação consiste em difundir a transcrição paleográfi ca integral de quatro contratos de obras relativos à Igreja de Santa Engrácia, em Lisboa. Datados do século XVII, entre 1606 e 1678, remetem para uma cronologia que antecede a atual igreja barroca, cuja construção se iniciou em 1682, facultando informação inestimável sobre as características das edifi cações que, no mesmo lugar, foram anteriormente consagradas a Santa Engrácia. O teor dos documentos, cuja grafi a se apresenta de leitura muito difícil, apenas foi parcialmente usado pelos autores que a eles se referem. A sua compreensão, facilitada pela transcrição paleográfica integral, é sustentada por uma breve introdução crítica que permite contextualizar os factos, trazendo novas luzes sobre a atribulada história da Igreja de Santa Engrácia, em particular, nos períodos da União Ibérica e da posterior Restauração da Independência.The main goal of this brief research note is to disseminate the full paleographic transcription of four works contracts relating to the Church of Santa Engrácia in Lisbon. Dating from the 17th century, between 1606 and 1678, they refer to a chronology that precedes the current Baroque church, whose construction began in 1682, providing invaluable information on the characteristics of the buildings that, in the same place, were previously consecrated to Santa Engrácia. The content of the documents, whose spelling is very diffi cult to read, was only partially used by the authors who refer to them. Its comprehension, facilitated by the integral paleographic transcription, is supported by a brief critical introduction that allows contextualizing the facts, shedding new light on the troubled history of the Church of Santa Engrácia, in particular during the periods of the Iberian Union and the subsequent Restoration of Independence
RECAPTURED MEMORY: IMAGES OF A COMMUNITY
Full text linkO presente artigo aborda o processo de concepção e produção de uma exposição assente na problemática da imagem fotográfi ca e na importância do estudo do negativo e da prática do retoque para o cabal conhecimento dessa imagem. Dedicada à fotografi a de retrato e ao trabalho do estúdio fotográfico, centrada no espólio da antiga Foto-Carvalho, um estúdio em funcionamento em Estremoz desde 1936 até c. 2000, a exposição revela a complexidade da construção da imagem fotográfica. A sua organização envolveu a cidade e conferiu dimensão performativa à pesquisa académica, correspondendo às tendências actuais da investigação e da diversificação dos seus resultados.The present text deals with the conception and production of an exhibition based on the problem of the photographic image and the importance of studying the negative and the retouching work for the thorough knowledge of that image. Dedicated to portrait photography and the work in a photographic studio, it focusses on the archive of Foto-Carvalho, a photography studio in operation in Estremoz from1936 until c.2000; the exhibition reveals the complexity of the construction of the photographic image. The city was involved in its organization, and a performative dimension was added to the academic research, corresponding to the current trends in research and diversifying its results
