ARTIS-IHA - Artigos em Revistas Internacionais
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- Las Esculturas Barrocas Italianas de los Jardines de la Embajada de España en LisboaPublication . Vale, Teresa Leonor. M.En los jardines del palacio del sigo XVII, propiedad del Estado Español, que alberga su embajada en Lisboa, es posible apreciar un notable conjunto – aunque no homogéneo, ya que es cronológicamente diversificado (siglos XVII y XVIII) y también con distintas proveniencias (Génova y probablemente Roma) – de obras de escultura barroca italiana. D. Luís Lobo de la Silveira (1640–1706) y D. Rodrigo da Silveira Silva e Teles (1663–1735), respectivamente 2º y 3º condes de Sarzedas, propietarios del palacio durante el siglo XVII y primeras décadas del XVIII, habrán sido los responsables del encargo de estas piezas, de las cuales hoy sobreviven las siguientes: tres fuentes localizadas en el jardín superior, una estatua de Hércules (perteneciente a una antigua fuente) y además cuatro figuras (de carácter mitológico o alegórico) en el patio. Estas cuatro últimas estatuas en particular son de especial importancia, una vez que enriquecen el panorama de la escultura italiana importada por agentes portugueses en el barroco y prueban la existencia en Portugal (y concretamente en los jardines del palacio de la embajada de España) de obras del escultor genovés Bernardo Schiaffino (1678–1725), un hecho hasta aquí desconocido por la historiografía del arte portugués y extranjero.
- Eighteenth-century Roman Silver for the chapel of St John the Baptist of the church of S. Roque, LisbonPublication . Vale, Teresa Leonor. M.THE SILVER COLLECTION of the chapel of St John the Baptist in the church of S. Roque in Lisbon was described by Anna Candiago as ‘of immense value both for the richness of the material and for the perfection of its style and technique [. . .] neither in Italy, nor in Rome itself – strange though that may seem – can one find a set of silver items that attains such perfection through a harmonious fusion of artistic elements’. 1 In fact the collection of Italian Baroque silver that makes up the treasure of this chapel – now in the Museu de S. Roque, Lisbon – is the only one of its kind, although the more than forty pieces that are considered in this article are only part of the original collection. They can be compared individually with other works of the same period and with works by the same artists, which is essential for their study and evaluation.
- Les acquisitions d’oeuvres d’art du premier marquis de Fronteira, João de Mascarenhas (1633-1670), pour sa demeure des environs de LisbonnePublication . Vale, Teresa Leonor. M.Dans ce bref texte, nous croyons avoir réussi tout d’abord à développer un essai de caractérisation du goût de l’aristocratie portugaise de la seconde moitié du XVIIe siècle et des circonstances spécifiques qui ont conditionné la formation de ce goût. En prenant pour exemple la figure du 1ermarquis de Fronteira, João deMascarenhas – un personnage à la fois paradigmatique et unique dans ce contexte du Portugal de l’après Restauração –, nous avons ensuite cherché à réaliser une reconstitution de ses acquisitions d’oeuvres d’art italiennes et françaises, d’après les pièces encore existantes et lesmanuscrits que nous avons réussi à retrouver dans les archives.
- L’atelier degli Zappati:opere per il Portogallo di una famiglia di argentieri romani del SettecentoPublication . Vale, Teresa Leonor. M.
- Un’acquasantiera argentea genovese in Portogallo. Percorsi trasversali di moduli barocchiPublication . Vale, Teresa Leonor. M.
- Di bronzo e d’argento: sculture del Settecento italiano nella magnifica Patriarcale di LisbonaPublication . Vale, Teresa Leonor. M.King Giovanni V of Portugal undoubtedly admired Italian marble sculptures; in fact he had had the contents of the basilica of Mafra enriched with them. In spite of this fact, for his Patriarchal Basilica in Lisbon he had chosen metal decorations. Besides the numerous silver works made in Rome, we know of the existence in the Patriarchal of two high quality sculptures, which had been greatly admired at that period; they were a relief portraying the Virgin with Child in gilded bronze (armolu) for the façade of the basilica and inside the latter a gilded silver statue of the Immaculate Mary. This statue was particularly admired in Rome as well as in Lisbon. Both statues disappeared during the terrible period of destruction which the Portuguese capital underwent on the first of November 1755. These two sculptures represent only a very small part of Giovanni V's dream of taking some pieces of Roman art to Lisbon, the art he admired so much from afar and dreamt of visiting personally. Being unable to realize this wish the king tried to experience it by means of the numerous works of art which he acquired during his life and his long reign.
- Roman Baroque Silver for the Patriarchate of LisbonPublication . Vale, Teresa Leonor. M.The three major groups of Roman Baroque silver commissioned during the reign (1706–50) of John V of Portugal were made respectively for the chapel of St John the Baptist in the church of S. Roque in Lisbon, 1 for the basilica of the Royal Palace of Mafra, and for the Patriarchate of Lisbon. Elevated to the status of the Patriarchate basilica on 7th November 1716 by Clement XI’s papal bull ‘In supremo apostolatus solio’, and finally consecrated on 13th November 1746, the Patriarchate was particularly cherished by the king and consequently greatly enriched with works of art, among them many outstanding silver objects. These were commissioned for the building even before those for Mafra and commissions continued throughout the first half of the eighteenth century, at the same time that the silver for the chapel of St John the Baptist was being made.
- Characterization of Lime Mortars from an 18th Century River Tagus Quay (Lisbon, Portugal)Publication . Antunes, Alexandra de Carvalho; Coroado, João; Bolton, Jason; Rocha, Fernando; Sequeira, Maria CristinaThe monumental quay Cais das Colunas was built in the decades 1770 to 1790, merged in the reconstruction plan of the city of Lisbon after the great 1755 earthquake. Characterization studies of mortars from this period are still very few. In 1997 the quay was partially dismounted and in 2008 was reconstructed. During the reconstruction intervention ancient mortars, from the core, were sampled in order to study them. This paper presents the mineralogical, chemical and granulometric characterization and capillarity water absorption of samples from these mortars. The analytical methodology comprised: the qualitative mineralogical analysis by powder method of total sample by X-Ray diffraction; the quantitative chemical analysis of total sample by X-Ray fluorescence; the water absorption by capillarity coefficient; the determination of hydrochloric acid insoluble residue; and the granulometric analysis of insoluble residue. This methodology allowed determining the simplified composition of mortars. It was confirmed the use of local sands and aerial lime based binder.
- Un ambasciatore portoghese a Roma nel Seicento (1676-1782): tra semplici acquisti di opere d’arte e collezionismoPublication . Vale, Teresa Leonor. M.Nel mese di gennaio del 1676 D. Luís de Sousa (1637-1690), arriva a Roma in veste di ambasciatore del re di Portogallo. Rimarrà nella città pontificia sino al 1682, abitando in un sontuoso palazzo in Campo Marzio, i cui interni una relazione d’epoca ci lascia immaginare. Tra i suoi molteplici impegni diplomatici il vescovo ambasciatore si lascia affascinare dall’Urbe, visita le sue chiese – seguendo l’itinerario per uso del buon pellegrino fissato da S. Filippo Neri poco più di un secolo prima – e passeggia nei giardini delle ville patrizie ammirando in particolare le fontane e gli «artificiosi giochi d’acqua» (come fa scrivere nel suo diario). Queste suggestioni lo condurranno ad acquistare per il portoghese conte di Ericeira una fontana disegnata da Gianlorenzo Bernini e scolpita da Ercole Ferrata, ancora oggi visibile nei giardini del Palácio Nacional de Queluz, nei pressi di Lisbona. Per sé stesso e per la sua villa di Calhariz, a sud della capitale, acquista numerosi dipinti, delle sculture e delle opere d’arti decorative. Oltre a presentare gli acquisti romani di D. Luis de Sousa alla luce dei documenti e delle opere sopravissute alle vicissitudini della storia, ciò che interessa discutere in questo saggio è soprattutto l’esistenza o meno di una strategia collezionisica per i suoi acquisti. Infatti, l’assenza di una cultura artistica internazionale da parte dell’ambasciatore – originario di un paese che soltanto nella seconda metà del Seicento, in seguito alla Restauração, si apriva più sistematicamente all’Europa – ha reso impossibile selezionare i migliori artisti, ideare criteri e strategie capaci di strutturare organicamente una raccolta e di diventare in questo modo un vero e proprio collezionista.