ARTIS-IHA - Artigos em Revistas Internacionais
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- Angelo Maria Spinazzi argentiere nella Roma del Settecento: la committenza portoghesePublication . Vale, Teresa Leonor. M.
- Art (Portugal)Publication . Lapa, PedroThe Great War coincided with a period of great changes and conceptions as regards artistic trends. The official nomination of painter Sousa Lopes to represent Portugal in the global conflict followed the precepts of traditional history painting; however, the results reveal a limit to its realization. In turn, modernist artists distanced themselves from the war – only soldier Christiano Cruz would produce non-state-commissioned paintings from a modernist perspective that allowed a reflection on modern art and war. [Com o apoio Fundação para a Ciência e a Tecnologia - FCT]
- Art and festivities in Eighteenth century Rome: letters from a Portuguese priest, 1721-23Publication . Vale, Teresa Leonor. M.Manuel de Campos, a Jesuit priest from Lisbon, arrived in Rome in June 1721 as part of a Portuguese royal delegation to the papal court. In letters home over the following year he described the city’s churches, their works of art and furnishings and the lavish temporary decorations made for religious festivals.
- 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.
- ’Che sarà cosa curiosissima e delle più belle’ : A escultura barroca da Igreja do Loreto.Publication . Vale, Teresa Leonor. M.
- Contributo alla scultura romana del tardo Settecento. Un ritratto inedito di Pio VIPublication . Vale, Teresa Leonor. M.While investigating late- Baroque Roman sculptures in the Palàcio Nacional of Mafra (Lisbon) a white marble base-relief was discovered. It is a so far unknown papal depiction.The portrait at half-length may repre- sent Pio VI Braschi who was Pope from 1775-1799, as declared by the coat-of-arms of the Braschi family on the stole. The marble image comes from the royal Portuguese collection and was probably made for the court of Lisbon or commissioned by the Por- tuguese ambassador in Rome, or even given to the king by the same Pope.The style of the base-relief corresponds to those of Roman sculptures towards the end of the 18th century; there is a collection of marble portraits of Pio VI carved by artists working in Rome at the time ( Pietro Bracci, Ferdinando Lisandroni,Giuseppe Ceracchi, Gio- vanni Pierantoni, Nicola Valentini )which allow us to insert the portrait at Mafra in the context of this pro- duction placing it at a time of transi- tion between the great Baroque depic- tion and the newly acquired moderate styles of the neo classic taste. The analysis of this sculpture due to the delicate and mellow effect of the Pio VI features makes it more similar to the style of Ferdinando Lisandroni.
- Da Roma Eterna à Roma do Oriente: Sobre a Problemática do Enquadramento Visual de Fachadas de Duas Torres com Zimbórios Centrais na Arquitectura Religiosa GoesaPublication . Santos, Joaquim Rodrigues dosO enquadramento entre fachadas de duas torres e zimbórios foi um problema que os arquitectos barrocos procuraram resolver. Se até à época renascentista o problema não se punha, a partir da construção da nova Basílica de São Pedro no Vaticano (Roma) este tema passou a estar presente nas mentes dos projectistas: como resolver o enquadramento visual do zimbório com as torres laterais das fachadas? Também na igreja teatina de Goa se colocou a problemática do enquadramento do zimbório com as torres da sua fachada. Este templo foi a primeira e única igreja com zimbório erguida na parte oriental do império português, e o seu zimbório, pela grande dimensão, beleza e rapidez de execução, tornou-se no principal motivo arquitectónico da igreja para quem a observa de longe, tendo-se convertido em alvo de admiração. Esta admiração deu inclusivamente origem a um conjunto sui generis de igrejas paroquiais no território das Velhas Conquistas de Goa, possuindo fachadas com forte demarcação dos andares e, sobretudo, um falso zimbório entre as torres laterais, mais precisamente na parte superior do pano central da fachada.
- 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.