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REMOVAL OF OVERPAINTS AND IMAGE PERCEPTION — THE SCULPTURE OF SAINT MATHEW THE EVANGELIST FROM THE MAIN CHURCH OF SARDOAL
Full text linkUma escultura em madeira policromada representando São Mateus Evangelista (séc. XVII/XVIII), pertencente à Igreja Matriz do Sardoal, foi alvo de uma intervenção de conservação e restauro no Laboratório de Escultura do Instituto Politécnico de Tomar. O trabalho revelou-se um ponto de refl exão importante não só no âmbito académico, como na sua contribuição para o estudo da História da Arte e da percepção da imagem. A escultura apresentava-se repintada, tal como acontece com inúmeros bens culturais portugueses deste período. Uma observação atenta permitiu identificar a presença de policromia subjacente, posteriormente comprovada pela análise de cortes estratigráficos, bem como pela realização de janelas de sondagem. A questão do levantamento de repintes continua a ser uma opção desafiante na Conservação e Restauro, não só pelas questões de ordem ética, como pelas dificuldades técnicas que envolvem este processo. Esta intervenção apresenta um ponto de reflexão importante a respeito do levantamento – ou não – de repintes na escultura policromada portuguesa.A wooden sculpture depicting Saint Mathew, the Evangelist (17th-18th centuries), belonging to the main church of Sardoal (Portugal), was restored at the Sculpture Conservation Laboratory at Tomar Polytechnic Institute. This work is part of an important refl exion not only in an academic level, but also as a contribution to Art History and the perception of the Image. The sculpture was overpainted, as it happens in countless sculptures from this period. A careful observation allowed to identify the presence of an underlying polychromy, later confi rmed by the analysis of the cross-sections by optical microscopy and the opening of survey areas. The removal of an overpaint it’s still a challenging option in Conservation, not only because of the ethical questions involved, but also due to the technical diffi culties concerning this process. This intervention aims to pose as a refl ection on the removal - or not - of overpaints, in Portuguese wooden sculpture
“EXCELLENT REPRODUCTIONS OF ANTIQUE IVORY PIECES” NATIONAL MUSEUM OF ANCIENT ART’S FICTILE IVORIES
No full textAs reproduções de objetos artísticos em gesso, galvanoplastia ou fotografi a assumiram-se como instrumentos fundamentais no quadro da museologia da segunda metade do século XIX, mais especifi camente no contexto das práticas colecionísticas, expositivas e pedagógicas dos museus de artes ornamentais, industriais ou decorativas. A Academia Real de Belas-Artes de Lisboa (ARBAL) formará coleções desta natureza, seja para fins de ensino académico ou fins museológicos. No presente texto debruçar-nos-emos em torno de uma coleção inédita de trinta e duas peças em gesso que reproduzem placas de marfim esculpido – os designados fictile ivories –, atualmente no acervo do Museu Nacional de Arte Antiga (MNAA), e que resultam de uma importante oferta do South Kensington Museum de Londres, em 1866, à Academia Real de Belas-Artes de Lisboa. Analisaremos o fenómeno da importância internacional das reproduções, a oferta realizada pelo museu londrino, a especifi cidade dos fictile ivories neste âmbito e, considerando as limitações de uma investigação ainda em curso, apresentaremos alguns dados de caraterização desta coleção.Reproductions of artistic objects in plaster, electrotype or photography were considered as fundamental instruments in the museology of the second half of the 19th century, more specifi cally in the context of the museums of ornamental arts and in their role in collect, display and education. The Academia Real de Belas-Artes de Lisboa (ARBAL) will form collections of this nature, whether for academic teaching or museological purposes. In this paper we will focus on an inedited collection of thirty-two plaster casts that reproduce carved ivory plaques – the designated fictile ivories –, currently in Museu Nacional de Arte Antiga (MNAA) collection, and that result from an important offer of the South Kensington Museum, in London, in 1866, to the Academia Real de Belas-Artes de Lisboa. We will analyze the phenomenon of the international importance of reproductions, the offer made by the London museum, the specifi city of fi ctile ivories in this context and, considering the ongoing research, we will briefl y characterize this collection
THE IMAGE OF ART BETWEEN IDEOLOGY AND MODERNITY. ELBLĄG BIENNALES OF SPATIAL FORMS IN 1960’S POLAND
Full text linkIn 1965 Gerard Kwiatkowski and Marian Bogusz organized the fi rst of the Spatial Forms Biennales in Elbląg – a city based in the so-called “Recovered Territories”. Selected artists, supported by ZAMECH mechanical plant and with the permission of the communist authorities, created several dozen huge metal sculptures known as “Spatial Forms”. This was the biggest experiment combining art and industry in Poland or even in Europe. The aim of the article is to juxtapose the role of this phenomenon, namely how the creators of the Biennales found a balance between artistic freedom and political limitations, these limitations were forced upon the artists in a way that might prompt one to recall, Foucault’s manner of “discipline” (Foucault, 1973). The author of the article also touches upon the question of the contemporary view of the Elbląg Biennale from the perspective of the avant-garde myth of social and collective participation in artistic creation.In 1965 Gerard Kwiatkowski and Marian Bogusz organized the fi rst of the Spatial Forms Biennales in Elbląg – a city based in the so-called “Recovered Territories”. Selected artists, supported by ZAMECH mechanical plant and with the permission of the communist authorities, created several dozen huge metal sculptures known as “Spatial Forms”. This was the biggest experiment combining art and industry in Poland or even in Europe. The aim of the article is to juxtapose the role of this phenomenon, namely how the creators of the Biennales found a balance between artistic freedom and political limitations, these limitations were forced upon the artists in a way that might prompt one to recall, Foucault’s manner of “discipline” (Foucault, 1973). The author of the article also touches upon the question of the contemporary view of the Elbląg Biennale from the perspective of the avant-garde myth of social and collective participation in artistic creation
HERITAGE AND HISTORY OF THE MARBLE INDUSTRY: THE ROLE OF THE ART HISTORY IN A PLURIDISCIPLINARY PROJECT
Full text linkA investigação consagrada ao estudo das pedreiras (extintas e em atividade) e à sua relação com o património histórico-artístico tem sido escassa em Portugal, registando-se a ausência de um programa que, à escala nacional, identifique e promova as suas potencialidades sociais, económicas e patrimoniais.O presente projeto, assente em princípios e práticas interdisciplinares, pretende evidenciar a importância dos mármores do Anticlinal Alentejano, num contexto de valorização patrimonial e cultural, numa região onde a indústria das rochas ornamentais define as paisagens, molda a economia e estabelece modos de vida. O conhecimento alcançado pela investigação científica, difundido através de várias plataformas e destinado a diversos públicos, contribuirá para o desenvolvimento regional, fornecendo conteúdos sólidos para um turismo industrial e cultural atrativo, sustentável e de qualidade.The research devoted to the study of quarries (extinct and active) and its relation with the historical-artistic heritage has been scarce in Portugal, noting the absence of a program that, at a national scale, identifies and promotes its social, economic and patrimonial potentialities.The current project based on interdisciplinary principles and practices, aims to highlight the importance of the marbles from Alentejo Anticline in a context of patrimonial and cultural valorization, in a region where the ornamental rock industry defines landscapes, shapes the economy and establishes ways of life. The knowledge reached from scientific research, disseminated through several platforms and intended for various audiences, will contribute to regional development, providing solid contents for an industrial and cultural tourism, attractive, sustainable and with quality
GIUSEPPE TRONO, A PORTAITS PAINTER AT THE PORTUGUESE COURT (1785-1810)
Full text linkA vasta obra do artista italiano Giuseppe Trono (Turim, 1739 – Lisboa, 1810), como retratista da corte portuguesa em finais de século XVIII, reveste-se de grande importância na construção e divulgação da imagem da família real, numa dinâmica de produção que abrange o âmbito de gravuras e miniaturas. Trono realizou também retratos da elite dos aristocratas e fidalgos lusitanos, onde foi adquirindo fama como pintor e miniaturista. O painel da capela do palácio da Bemposta, um extraordinário conjunto de retratos da família real e do povo lisboeta, representa, através duma complexa iconografia, as políticas do governo de D. Maria I à luz da sua identificação com o culto do Sagrado Coração de Jesus configurando-se como um caso único no contexto artístico português.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
ATMOSPHERES OF LIGHT. AZULEJOS IN THE SIZA VIEIRA’S ARCHITECTURE
Full text linkNa segunda metade do século XX um entendimento do potencial do uso do azulejo ganhou novo destaque, com a crescente importância dos arquitetos no surto construtivo que alterou a feição das cidades portuguesas. De entre a segunda geração de arquitetos destaca-se a figura de Álvaro Siza Vieira, autor reconhecido internacionalmente e que, na sua obra, só tardiamente começou a empregar azulejos. Contudo, o que é incontestável é a perceção que Siza Vieira tem da potencialidade do azulejo trazendo com ele novos entendimentos e abrindo novas potencialidades a uma arte que se constitui como uma das mais genuínas expressões portuguesas.In the second half of the twentieth century the azulejo’s potential gained a new understanding and, as a result, was given preeminence. Its importance grew especially due to the architects’ role in the construction boom that changed the landscape of Portuguese cities. Among the second generation of new architects Álvaro Siza Vieira stands out; his work is acknowledged worldwide, although he only started using azulejos in his architecture later on. However, it is unquestionable that he has a perception of the azulejos’ potential and has brought out a new appreciation as well as opened new paths to an art that stands as one of the most genuine Portuguese cultural expressions
FROM PARIS TO ANGOSTURA: THE IMAGE OF THE LIBERATOR IN BETTY KAPLAN’S MINISERIES BOLÍVAR (1983)
Full text linkThis study aims to explain the plot of the miniseries Bolívar (1983) by Venezuelan-American director, Betty Kaplan, from its beginning when Simón Bolívar is depicted in Paris, France in 1804, until the creation of Colombia in the Venezuelan city of Angostura in 1819. Fragmenting the scenes and the events related to the life and achievements of Simón Bolívar between 1804 and 1819, this article narrates all the matters proposed through the image of the Liberator and its context contrasting the plot with Bolivarian iconography, biography and literature in order to describe the events in which Bolívar is portrayed by Betty Kaplan. Furthermore, this article shares a series of original photographs from Betty Kaplan’s personal archive in order to illustrate the reader in a visual way.This study aims to explain the plot of the miniseries Bolívar (1983) by Venezuelan-American director, Betty Kaplan, from its beginning when Simón Bolívar is depicted in Paris, France in 1804, until the creation of Colombia in the Venezuelan city of Angostura in 1819. Fragmenting the scenes and the events related to the life and achievements of Simón Bolívar between 1804 and 1819, this article narrates all the matters proposed through the image of the Liberator and its context contrasting the plot with Bolivarian iconography, biography and literature in order to describe the events in which Bolívar is portrayed by Betty Kaplan. Furthermore, this article shares a series of original photographs from Betty Kaplan’s personal archive in order to illustrate the reader in a visual way
PORTUGUESE INTERNATIONAL PAVILIONS AND NATIONAL STYLE — ARCHITECTURE TENDERS SHAPED BY POLITICAL AND CULTURAL AGENTS
Full text linkUniversal exhibitions were true emblems of modernity in the nineteenth and twentieth centuries, as vehicles of artistic and technical paradigms of each country. Portugal’s participation, from the first Republic to the Estado Novo regime encompass different political and economic circumstances which moulded the strategies to adopt in each participation, and therefore the architectural style that should be used to convey a certain image of the country. The concept of ‘Empire’ dominates the discourse, to be translated into appropriate architectural options of its exhibition pavilions. This sparked a debate between architects and key cultural and political agents, selected as jurors for the architectural tenders held for the Portuguese Pavilions. Evaluating these events means identifying pivotal participants, their proposals and their thoughts on the issue of a representative ʻnational styleʼ. This particular period also dwells with the issue of implementing modern architecture, distanced from eclectic historicisms yet rooted in vernacular elements.Universal exhibitions were true emblems of modernity in the nineteenth and twentieth centuries, as vehicles of artistic and technical paradigms of each country. Portugal’s participation, from the first Republic to the Estado Novo regime encompass different political and economic circumstances which moulded the strategies to adopt in each participation, and therefore the architectural style that should be used to convey a certain image of the country. The concept of ‘Empire’ dominates the discourse, to be translated into appropriate architectural options of its exhibition pavilions. This sparked a debate between architects and key cultural and political agents, selected as jurors for the architectural tenders held for the Portuguese Pavilions. Evaluating these events means identifying pivotal participants, their proposals and their thoughts on the issue of a representative ʻnational styleʼ. This particular period also dwells with the issue of implementing modern architecture, distanced from eclectic historicisms yet rooted in vernacular elements
STONES THAT SPEAK: MEMORY, CULTURAL AND ARCHITECTURAL SYNCRETISM (NORTH OF YUCATÁN 16th CENTURY)
Full text linkEl proceso de conquista y colonización del nuevo mundo, es uno de los periodos más intrigantes de la historia. Es un periodo verdaderamente rico para los estudios de iconoclastia y de conflicto entre visiones distintas de la realidad, pero también para el estudio de sincretismos. Este artículo enfoca su mirada en las relaciones de memoria y sincretismo cultural y arquitectónico que han ocurrido en el norte de Yucatán durante el siglo XVI. Pretendemos demostrar que la utilización de viejos materiales de construcción maya, llevó a un desarrollo del sincretismo más allá de los moldes tradicionales, al mismo tiempo que pretendía legitimar y solidificar la nueva orden establecida en tierras yucatecas. Nuestro abordaje es nutrido por un perfil multidisciplinar enlazando la lingüística, arquitectura, historia e historia del arte.The process of conquest and colonization of the new world is one of the most intriguing periods in history. It is a truly rich period for studies of iconoclasm and conflict between different visions of reality, but also for the study of syncretism. This article focuses on the relations of memory and cultural and architectural syncretism that have occurred in the north of Yucatan during the sixteenth century. We intend to demonstrate that the use of old materials of Mayan construction, led to a development of syncretism beyond traditional molds, while attempting to legitimize and solidify the new order established in Yucatecan lands. Our approach is nurtured by a multidisciplinary profile linking linguistics, architecture, history and art history
CONTRIBUTIONS TO AN IDEA OF DESTRUCTION IN CONTEMPORARY ARTISTIC CULTURE
Full text linkQue situações históricas, que pensamentos, que atitudes, que enquadramentos, estarão na génese de uma dimensão negativa, pessimista e redutora da arte contemporânea e actual? Poderão ser múltiplas as respostas. Tentaremos apresentá-las em duas principais vertentes de actuação: definindo o pensamento filosófico do século XIX, que contribuiu para a ideia de derrocada progressiva dos valores ocidentais, com as contribuições da “morte da arte” de Hegel e o niilismo no pensamento de Nietzsche; e demonstrando um mal-estar existencial no século XX, com as vanguardas modernistas, subsidiárias das duas guerras mundiais e do holocausto nazi, com as noções de desumanização e decadência do mundo ocidental, com o situacionismo e a Guerra Fria, e, na actualidade, com a pós-modernidade e a realidade reduzida a pressupostos mediáticos.What historical situations, thoughts, attitudes, will be at the genesis of a negative, pessimistic and reductive dimension of contemporary art? There may be multiple answers. We will try to present them in two main aspects: defining the philosophical thought of the nineteenth century, which contributed to the idea of a progressive overthrow of Western values, with the contributions of Hegel's "death of art" and nihilism in Nietzsche's thinking; and demonstrating an existential uneasiness in the twentieth century, with the modernist vanguards, subsidiaries of the two world wars and the Nazi holocaust, with the notions of dehumanization and decadence of the Western world, with Situationism and the Cold War, and, nowadays, with Postmodernity and the reality reduced to media assumptions