1,720,974 research outputs found
José António Jorge Pinto, estudo sobre o artista e sua obra azulejar
No full textThis work is dedicated to the ceramist José António Jorge Pinto (1875-1945), who is widely recognized for his work in tile painting, mainly in the Art Nouveau period in Portugal. Despite the recognition of José António Jorge Pinto tile work, little or nothing is known about his production technique or the materials used by him. The main objective of this work is to characterize the materials and production technique used in two of his panels (1906 and 1923-28). These two panels were selected based on the research carried out on the author and his work. To this end, the panels were examined and analyzed using a set of non-destructive examinations and analyses. The techniques used in this study were digital microscopic mode. In this way, the aim is to minimize the gap that exists regarding the materials and production techniques of this author, thus contributing to a more in-depth knowledge of his work. The results obtained on the two panels are very similar in terms of the glaze and pigments used. The glazes presented lead (Pb) based flux and cassiterite (SnO2) as the opacifier. Naples yellow (Pb2Sb2O7) was identified in the yellow colour, with the possibility of using the triple oxide (Sn-Sb-Pb). The blue is cobalt (Co) based and the greens resulted from mixing blues with the yellows. In the pink colour, malayaite (CaO∙SnO2∙SiO2) doped with chromium (Cr) was identified and the blackswere manganese (Mm) based darkened with iron (Fe) and Cobalt (Co), and in “La Pastourelle”, also with C
José António Jorge Pinto, estudo sobre o artista e sua obra azulejar
No full textThis work is dedicated to the ceramist José António Jorge Pinto (1875-1945), who is widely recognized for his work in tile painting, mainly in the Art Nouveau period in Portugal. Despite the recognition of José António Jorge Pinto tile work, little or nothing is known about his production technique or the materials used by him. The main objective of this work is to characterize the materials and production technique used in two of his panels (1906 and 1923-28). These two panels were selected based on the research carried out on the author and his work. To this end, the panels were examined and analyzed using a set of non-destructive examinations and analyses. The techniques used in this study were digital microscopic mode. In this way, the aim is to minimize the gap that exists regarding the materials and production techniques of this author, thus contributing to a more in-depth knowledge of his work. The results obtained on the two panels are very similar in terms of the glaze and pigments used. The glazes presented lead (Pb) based flux and cassiterite (SnO2) as the opacifier. Naples yellow (Pb2Sb2O7) was identified in the yellow colour, with the possibility of using the triple oxide (Sn-Sb-Pb). The blue is cobalt (Co) based and the greens resulted from mixing blues with the yellows. In the pink colour, malayaite (CaO∙SnO2∙SiO2) doped with chromium (Cr) was identified and the blackswere manganese (Mm) based darkened with iron (Fe) and Cobalt (Co), and in “La Pastourelle”, also with C
Azulejaria rococó Regresso à cor no Museu Nacional do Azulejo
No full textO presente relatório de estágio descreve o trabalho desenvolvido por Graça Maria Marques da Silva no Museu Nacional do Azulejo, no período entre Setembro de 2013 até Setembro de 2014. O objetivo deste projeto de estágio foi o de organizar, estudar e inventariar um conjunto indeterminado de painéis de azulejos que se inserem na estética denominada “regresso à cor”, manufaturado nas olarias de Lisboa em meados do século XVIII e que se inserem no vasto projeto de inventário das coleções desta instituição, denominado “Devolver ao Olhar”. O relatório divide-se em quatro capítulos. Na primeira parte desenvolve-se o enquadramento histórico da instituição, a sua origem como Convento da Madre de Deus, até à consagração do Museu Nacional do Azulejo. Aqui se identificam espaços e o espólio do Museu, fazendo uma breve referência às reservas museológicas e à sua importância. No segundo capitulo o discurso remete para uma breve reflexão acerca do tema da azulejaria e das oficinas do século XVIII, contemplando a sua produção, com destaque para aquela que se insere no estilo Rocaille, das fontes de inspiração às gramáticas decorativas utilizadas. O capitulo terceiro reporta a todas as atividades práticas desenvolvidas no período de estágio, apresentando e demostrando as metodologias adotadas. Por último, no quarto capítulo, procede-se à análise do conjunto azulejar em estudo apresentando e explicando a diversidade de painéis e elementos encontrados na reserva museológica da instituição.ABSTRACT: The present internship report describes the work of Graça Maria Marques da Silva at the National Tile Museum, in the period from September 2013 until September 2014. The objective of this internship project was organizing, studying and inventorying an indefinite number of tile panels which fall into the aesthetics called "Regresso à cor", manufactured in the potteries of Lisbon in the mid eighteenth century and which fall within the broad project of inventorying the collections of this institution called "Devolver ao Olhar". The report is divided into four chapters. In the first part is developed the historical framework of the institution, its origin as Convento da Madre de Deus, to the consecration of the Museu Nacional do Azulejo. Here we identify the spaces and the estate of the Museum, making a brief reference to the museum reserves and its importance. In the second chapter the speech refers to a brief reflection on the theme of the tiles and the workshops of the eighteenth century, contemplating its production, especially one that fits into the Rocaille style, from sources of inspiration to decorative grammars used. The third chapter relates to all practical activities during the internship, presenting and demonstrating the methodologies adopted. Finally, in the fourth chapter, an analysis of the tile set studied is made presenting and explaining the diversity of panels and elements found in the museum reserves
Jorge Rey Colaço: estudo, interpretação e reprodução de técnicas realizadas pelo artista e sua aplicação na conservação e restauro de paineis azulejares
No full textThe work developed throughout this project involves the study and the intervention done on fifteen tile panels by Jorge Rey Colaço (1868-1942), created in the first half of the 20th Century and which belong to the collection of the Museu Nacional do Azulejo (MNAZ) (National Tile Museum) in Lisbon. The panels display several motifs and production techniques revealing the artist’s creativity, technical knowledge and aesthetic perception. The project includes the conservation and restoration intervention on the set of tiles, including the production of replicas to compensate for missing elements, with the aim to integrate the panels in an exhibition of the Museu Nacional do Azulejo which has been on exhibit since November 2019. After making photographic and graphic records of each panel with a detailed analysis of their state of conservation, all mortar was removed from the back of the tiles. Then, the tile faces were cleaned, followed by the consolidation of the tile glazing and clay. Broken pieces were glued, gaps were filled and glaze was applied proceeded by chromatic and pictorial reintegration. A visual examination which included the use of a binocular stereoscope to record images was done, as well as an elemental analysis using the technique of energy dispersive micro X-ray fluorescence spectroscopy (μEDXRF). This procedure enabled us to characterize the pigments present in the glaze and the ceramic paste. Transparent lead glaze was identified, along with grit and terracotta, and the use of different metallic oxide pigments and differentiated firing temperatures. This study also includes research on the production techniques used and the graphic sources which originated each tile theme. The aim of this project is to produce the missing elements of the set of tiles, saving the identity of the pieces regarding art and cultural heritage conservation and restoration ethics, respecting the criteria of the Museu Nacional do Azulejo.The entire process developed in the workshop is described in this report. It specifies the tests used for pastes, colours and glaze which, together with the previous study, aided in the choice of the materials and a methodology for reproducing tiles to properly fit in the different panels.Finally, the panels are presented in the exhibition “Jorge Colaço and the figurative tiles of his time” and in the showcases which summarize and show the different restoration techniques applied. The exhibition is open to the public in the temporary exhibition hall of the Museu Nacional do Azulejo (MNAZ)
Jorge Rey Colaço: estudo, interpretação e reprodução de técnicas realizadas pelo artista e sua aplicação na conservação e restauro de paineis azulejares
No full textThe work developed throughout this project involves the study and the intervention done on fifteen tile panels by Jorge Rey Colaço (1868-1942), created in the first half of the 20th Century and which belong to the collection of the Museu Nacional do Azulejo (MNAZ) (National Tile Museum) in Lisbon. The panels display several motifs and production techniques revealing the artist’s creativity, technical knowledge and aesthetic perception. The project includes the conservation and restoration intervention on the set of tiles, including the production of replicas to compensate for missing elements, with the aim to integrate the panels in an exhibition of the Museu Nacional do Azulejo which has been on exhibit since November 2019. After making photographic and graphic records of each panel with a detailed analysis of their state of conservation, all mortar was removed from the back of the tiles. Then, the tile faces were cleaned, followed by the consolidation of the tile glazing and clay. Broken pieces were glued, gaps were filled and glaze was applied proceeded by chromatic and pictorial reintegration. A visual examination which included the use of a binocular stereoscope to record images was done, as well as an elemental analysis using the technique of energy dispersive micro X-ray fluorescence spectroscopy (μEDXRF). This procedure enabled us to characterize the pigments present in the glaze and the ceramic paste. Transparent lead glaze was identified, along with grit and terracotta, and the use of different metallic oxide pigments and differentiated firing temperatures. This study also includes research on the production techniques used and the graphic sources which originated each tile theme. The aim of this project is to produce the missing elements of the set of tiles, saving the identity of the pieces regarding art and cultural heritage conservation and restoration ethics, respecting the criteria of the Museu Nacional do Azulejo.The entire process developed in the workshop is described in this report. It specifies the tests used for pastes, colours and glaze which, together with the previous study, aided in the choice of the materials and a methodology for reproducing tiles to properly fit in the different panels.Finally, the panels are presented in the exhibition “Jorge Colaço and the figurative tiles of his time” and in the showcases which summarize and show the different restoration techniques applied. The exhibition is open to the public in the temporary exhibition hall of the Museu Nacional do Azulejo (MNAZ)
Azulejaria rococó Regresso à cor no Museu Nacional do Azulejo
No full textO presente relatório de estágio descreve o trabalho desenvolvido por Graça Maria Marques da Silva no Museu Nacional do Azulejo, no período entre Setembro de 2013 até Setembro de 2014. O objetivo deste projeto de estágio foi o de organizar, estudar e inventariar um conjunto indeterminado de painéis de azulejos que se inserem na estética denominada “regresso à cor”, manufaturado nas olarias de Lisboa em meados do século XVIII e que se inserem no vasto projeto de inventário das coleções desta instituição, denominado “Devolver ao Olhar”. O relatório divide-se em quatro capítulos. Na primeira parte desenvolve-se o enquadramento histórico da instituição, a sua origem como Convento da Madre de Deus, até à consagração do Museu Nacional do Azulejo. Aqui se identificam espaços e o espólio do Museu, fazendo uma breve referência às reservas museológicas e à sua importância. No segundo capitulo o discurso remete para uma breve reflexão acerca do tema da azulejaria e das oficinas do século XVIII, contemplando a sua produção, com destaque para aquela que se insere no estilo Rocaille, das fontes de inspiração às gramáticas decorativas utilizadas. O capitulo terceiro reporta a todas as atividades práticas desenvolvidas no período de estágio, apresentando e demostrando as metodologias adotadas. Por último, no quarto capítulo, procede-se à análise do conjunto azulejar em estudo apresentando e explicando a diversidade de painéis e elementos encontrados na reserva museológica da instituição.ABSTRACT: The present internship report describes the work of Graça Maria Marques da Silva at the National Tile Museum, in the period from September 2013 until September 2014. The objective of this internship project was organizing, studying and inventorying an indefinite number of tile panels which fall into the aesthetics called "Regresso à cor", manufactured in the potteries of Lisbon in the mid eighteenth century and which fall within the broad project of inventorying the collections of this institution called "Devolver ao Olhar". The report is divided into four chapters. In the first part is developed the historical framework of the institution, its origin as Convento da Madre de Deus, to the consecration of the Museu Nacional do Azulejo. Here we identify the spaces and the estate of the Museum, making a brief reference to the museum reserves and its importance. In the second chapter the speech refers to a brief reflection on the theme of the tiles and the workshops of the eighteenth century, contemplating its production, especially one that fits into the Rocaille style, from sources of inspiration to decorative grammars used. The third chapter relates to all practical activities during the internship, presenting and demonstrating the methodologies adopted. Finally, in the fourth chapter, an analysis of the tile set studied is made presenting and explaining the diversity of panels and elements found in the museum reserves
Azulejaria rococó Regresso à cor no Museu Nacional do Azulejo
No full textO presente relatório de estágio descreve o trabalho desenvolvido por Graça Maria Marques da Silva no Museu Nacional do Azulejo, no período entre Setembro de 2013 até Setembro de 2014. O objetivo deste projeto de estágio foi o de organizar, estudar e inventariar um conjunto indeterminado de painéis de azulejos que se inserem na estética denominada “regresso à cor”, manufaturado nas olarias de Lisboa em meados do século XVIII e que se inserem no vasto projeto de inventário das coleções desta instituição, denominado “Devolver ao Olhar”. O relatório divide-se em quatro capítulos. Na primeira parte desenvolve-se o enquadramento histórico da instituição, a sua origem como Convento da Madre de Deus, até à consagração do Museu Nacional do Azulejo. Aqui se identificam espaços e o espólio do Museu, fazendo uma breve referência às reservas museológicas e à sua importância. No segundo capitulo o discurso remete para uma breve reflexão acerca do tema da azulejaria e das oficinas do século XVIII, contemplando a sua produção, com destaque para aquela que se insere no estilo Rocaille, das fontes de inspiração às gramáticas decorativas utilizadas. O capitulo terceiro reporta a todas as atividades práticas desenvolvidas no período de estágio, apresentando e demostrando as metodologias adotadas. Por último, no quarto capítulo, procede-se à análise do conjunto azulejar em estudo apresentando e explicando a diversidade de painéis e elementos encontrados na reserva museológica da instituição.ABSTRACT: The present internship report describes the work of Graça Maria Marques da Silva at the National Tile Museum, in the period from September 2013 until September 2014. The objective of this internship project was organizing, studying and inventorying an indefinite number of tile panels which fall into the aesthetics called "Regresso à cor", manufactured in the potteries of Lisbon in the mid eighteenth century and which fall within the broad project of inventorying the collections of this institution called "Devolver ao Olhar". The report is divided into four chapters. In the first part is developed the historical framework of the institution, its origin as Convento da Madre de Deus, to the consecration of the Museu Nacional do Azulejo. Here we identify the spaces and the estate of the Museum, making a brief reference to the museum reserves and its importance. In the second chapter the speech refers to a brief reflection on the theme of the tiles and the workshops of the eighteenth century, contemplating its production, especially one that fits into the Rocaille style, from sources of inspiration to decorative grammars used. The third chapter relates to all practical activities during the internship, presenting and demonstrating the methodologies adopted. Finally, in the fourth chapter, an analysis of the tile set studied is made presenting and explaining the diversity of panels and elements found in the museum reserves
Devolver ao olhar: percurso e projecto expositivo no Museu Nacional do Azulejo
No full textDurante o ano de 2009 deu-se início ao projecto "Devolver ao Olhar", financiado pela
Fundação para a Ciência e Tecnologia (FCT), integrado na Rede Temática em Estudos de
Azulejaria e Cerâmica João Miguel dos Santos Simões (RTEACJMSS) do Instituto de
História de Arte da Faculdade de Letras da Universidade de Lisboa e desenvolvido no
Museu Nacional do Azulejo (MNAz), com a coordenação do responsável do Departamento
de Inventário, Doutor Alexandre Nobre Pais e com participação permanente do
Departamento de Conservação e Restauro.
A necessidade, há muito referenciada, do conhecimento efectivo de um espólio integrado no
designado Fundo Antigo do qual se desconhecem as características, a sua conservação e
restauro bem como investigação, permitiu a aquisição de técnicos especializados nas
diferentes áreas. Neste contexto, pretendemos dar a conhecer o que foi o desenrolar da acção
do projecto, assim como a sua finalidade maior que seria a de dar a conhecer o espólio
desconhecido das reservas do Museu Nacional do Azulejo.
A partir do espólio que entretanto se conseguiu "resgatar" pretendemos dar a conhecer,
através de um projecto expositivo, o conjunto de peças que se vieram a revelar uma mais
valia para o enriquecimento da colecção da instituição. Foram assim descobertos novos
padrões, completaram-se padrões conhecidos, mas incompletos na instituição, conheceramse
novos painéis figurativos que, do século XVII ao século XX, trouxeram novas
abordagens e perspectivas de investigação, tanto ao nível da iconografia, da temática ou da
tipologia. Compôs-se um conjunto de peças que torna ainda mais rica a colecção do Museu
Nacional do Azulejo e, por consequência, do património nacional.
Sabendo que as peças agora (re)descobertas tiveram um percurso, dentro e fora desta
instituição, é profícuo contextualizar a nossa exposição com o edifício histórico que acolhe o
projecto, desde a sua constituição como convento até aos dias de hoje, bem como todo o
processo de inventariação e conservação e restauro.
Reconhecendo que estamos a trabalhar com objectos desenquadrados do seu contexto
original, cuja informação referente às encomendas e locais se perderam no decorrer da nossa
história colectiva, pretende-se, contudo, dar-lhes um protagonismo que se quer ver afirmado
no panorama dos objectos de arte, por se tratar de uma manifestação tão Portuguesa.Abstract: The project "Devolver ao Olhar" started in 2009. It was funded by Fundação para a Ciência
e Tecnologia (FCT), promoted by Rede Temática em Estudos de Azulejaria e Cerâmica João
Miguel dos Santos Simões (RTEACJMSS), a thematic network of the Instituto de História
de Arte da Faculdade de Letras da Universidade de Lisboa, and developed at the Museu
Nacional do Azulejo (MNAz), under the coordination of the head of the Inventory
Department, Doctor Alexandre Nobre Pais, with the ongoing involvement of the
Conservation and Restoration Department.
The need for an effective study of the collection known as "Fundo Antigo" had long been
identified. Its preservation and restoration as well as analysis required the recruitment of
technical specialists in different fields. Our purpose is to make known the process of this
project, and propose an exhibition project beginning with what has already been disclosed.
Based on what we have been able to reveal of this collection, we intend to bring, through an
exhibition project, a set of pieces that adds particular value to the Museum's collection.
Incomplete patters have been filled in, new patterns have been discovered, new figurative
panels from the seventeenth to the twentieth centuries became known and have suggested
new approaches and new research perspectives, both in terms of iconography, subject and
typology. A totally new set of pieces is now available to enhance the collection of the
MNAz and the Portuguese heritage.
Knowing that the pieces that have now been discovered have had an history of their own in
and out of this institution, it is important to contextualize our exhibition with the historic
building that holds the project, from its constitution as a convent to the present day, as well
as the whole process of inventorying, conservation and restoration.
Being aware of the fact that we are dealing with objects that have been withdrawn from their
original contexts, and that most information concerning commissioning and their original
places has been lost, it is our intent to allow them to stand out in the art panorama, as they
are such an important example of the Portuguese glazed azulejo heritage
Os azulejos da Capela Doméstica do Noviciado de Arroios. Um estudo histórico e uma intervenção de conservação e restauro sobre a série de Santo Estanislau Kostka
Full text linkO estágio desenvolvido no Museu Nacional do Azulejo (MNAz), entre 18 de
Setembro de 2017 e 1 de Março de 2018, visou a aprendizagem dos métodos de
conservação e restauro aplicados à azulejaria e o desenvolvimento da investigação
histórica sobre um conjunto intervencionado – a série de Santo Estanislau Kostka da
Companhia de Jesus. A série pertence ao revestimento produzido em meados do século
XVIII para a capela doméstica do antigo Noviciado desta família religiosa e que fora
depositada no Museu no ano 2000. Com efeito, o presente relatório dá conta da
aprendizagem desses métodos e da investigação ali ocorrida durante os seis meses do
estágio.
A estrutura do relatório reflete, inclusive, não uma divisão linear de cada uma
dessas fases, mas antes a integração de todas elas no resultado final do estudo. Procurouse
assim, aliar a investigação histórica aos tratamentos de conservação e restauro segundo
as metodologias inerentes aos respetivos domínios. A nossa organização temática resulta,
portanto, dessa síntese, expondo, desta forma, as questões que a nosso ver se revelaram
mais significantes para o conhecimento dos painéis de S. Estanislau Kostka.The stage developed at the National Tile Museum (MNAz), between September
18, 2017 and March 1, 2018, aimed to learn the methods of conservation and restoration
applied to tiles and the development of historical research on an intervened set - the series
of St. Stanislaus Kostka of the Society of Jesus. The series belongs to the cladding
produced in the middle of the eighteenth century for the domestic chapel of the former
Novitiate of this religious family which had been deposited in the Museum in the year
2000. This report gives us an account of the learning of these methods and the research
that took place during the six months of the internship.
The report structure also reflects not a linear division of each of these phases, but
rather the integration of all of them into the final outcome of the study. The aim was to
combine historical research with conservation and restoration treatments according to the
methodologies inherent to the respective domains. Our thematic organization results,
therefore, from this synthesis, thus exposing the issues that in our view have proved most
significant for the knowledge of S. Estanislau Kostka's tile panels
Estudo decorativo, morfológico e tecnológico da faiança de Coimbra
No full textEste estudo tem como finalidade a identificação das principais morfologias e decorações da
faiança de Coimbra dos séculos XVII e XIX, bem como a identificação de decorações
características deste centro manufactureiro. Após o enquadramento histórico, artístico e
tecnológico foram analisadas, nessas duas vertentes, as colecções de faiança do Museu do
Mosteiro de Santa Clara-a-Velha, do Museu Nacional Machado de Castro. A análise
morfológica dos exemplares destas colecções revela a diversidade, utilidade, características
e influências dos mesmos. Do estudo decorativo resulta a percepção de quais os grandes
grupos decorativos, as diversas configurações pictóricas dos diferentes ciclos de produção,
as influências e as tendências produtivas. Este foi complementado com a análise de
colecções arqueológicas de diferentes locais com faiança atribuída àquele centro produtor
que permitiu ainda compreender a amplitude da sua disseminação através dos circuitos
comerciais nacionais e internacionais. O estudo de proveniência, que incidiu sobre faianças
de diferentes colecções, apontou fortes indícios para a faiança de Coimbra ter chegado a
Montemor-o-Velho, a Tomar e provavelmente São João de Tarouca. Este indicou ainda
que as decorações baseadas em rendas largas, rendas a cheio, arcos ogivais concêntricos,
espirais centrais, filetes duplos, faixas de “arabescos” e árvores de esponjado serão
características da faiança produzida no século XVII naquele centro produtorInstituto Politécnico de Toma
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