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Entre a salvaguarda e a destruição : a extinção das ordens religiosas em Portugal e as suas consequências para o património artístico dos conventos (1834-1868)
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A extinção das Ordens Religiosas, em 1834, no contexto das políticas liberais, levou os conventos a conhecerem um processo de “desmantelamento” que conduziu à descontextualização e perda de muitas obras de arte.
Porém, medidas em prol da salvaguarda do património, protagonizadas por D. Pedro IV (1798-1834), por D. Maria II (1819-1853) e também pelos seus sucessores, D. Pedro V e D. Luís, assentes na criação de uma estrutura organizada para o efeito, revelar-se-iam fundamentais na protecção de diverso património histórico-artístico e na consequente criação dos primeiros museus públicos de arte portugueses. Diversas medidas legislativas, a maioria inspirada no modelo francês, adequar-se-iam à realidade nacional, deparando-se, no entanto, com dificuldades de implementação advindas da volatilidade política que caracterizaria, particularmente, as décadas de 30 e 40 de oitocentos, até à denominada Regeneração.
A Biblioteca Pública, o Depósito das Livrarias dos Extintos Conventos e as Academias de Ciências e de Belas-Artes, sobretudo a de Lisboa, terão desempenhado um decisivo papel na salvaguarda e gestão de um vasto conjunto de obras de arte oriundas de conventos extintos, particularmente pinturas, que importa estudar, avaliando-se a importância atribuída ao património artístico móvel, numa altura em que alguns, de forma enérgica, defendiam a supremacia do património arquitectónico.
Para além de pinturas, as antigas casas religiosas – muitas das quais reutilizadas ou vendidas – possuíam um conjunto muito diverso de património artístico e religioso que teve os mais diversos destinos, numa conjuntura, tantas vezes, política, social e financeiramente adversa.
O gosto, as condições políticas, financeiras e logísticas, ditariam, inevitavelmente, as escolhas, o “viver” ou o “morrer” de muitas obras de arte.
The extinction of the Religious Orders in 1834, in the context of liberal policies, took the convents to know a process of "dismantling" that led to the decontextualisation and loss of many works of art. However, measures in favour of the safeguarding of heritage, taken by D. Pedro IV (1798-1834), by D. Maria II (1819-1853) and also by her sucessors, D. Pedro V and D. Luís, based on the creation of an organized structure for this purpose, would prove to be fundamental to the protection of diverse historical and artistic heritage and the consequent creation of the first public portuguese museums of art. Several legislative measures, most of them inspired by the french model, would be adjusted to the national reality, facing however, implementation difficulties, arising from political volatility that would characterized, particularly, the 1830s and 1840s decades, until the so-called Regeneration. The Public Library, the Deposit of Libraries of Extinct Convents and the Academies of Sciences and Fine Arts, especially Lisbon, have played a decisive role in safeguarding and management of a wide range of works of art from extinct convents, particularly paintings, important to be studied, evaluating the importance assigned to the movable artistic heritage, when some people defended, vigorously, the supremacy of the architectural heritage. In addition to paintings, the ancient religious houses − many of them were reused or sold − had a very diverse set of artistic and religious heritage that had the most different destinations, in a conjuncture, so often, politically, socially and financially adverse. The taste, and the political, financial and logistical conditions would determine, inevitably, the choices, the “survival” or the “death” of many works of art.
The extinction of the Religious Orders in 1834, in the context of liberal policies, took the convents to know a process of "dismantling" that led to the decontextualisation and loss of many works of art. However, measures in favour of the safeguarding of heritage, taken by D. Pedro IV (1798-1834), by D. Maria II (1819-1853) and also by her sucessors, D. Pedro V and D. Luís, based on the creation of an organized structure for this purpose, would prove to be fundamental to the protection of diverse historical and artistic heritage and the consequent creation of the first public portuguese museums of art. Several legislative measures, most of them inspired by the french model, would be adjusted to the national reality, facing however, implementation difficulties, arising from political volatility that would characterized, particularly, the 1830s and 1840s decades, until the so-called Regeneration. The Public Library, the Deposit of Libraries of Extinct Convents and the Academies of Sciences and Fine Arts, especially Lisbon, have played a decisive role in safeguarding and management of a wide range of works of art from extinct convents, particularly paintings, important to be studied, evaluating the importance assigned to the movable artistic heritage, when some people defended, vigorously, the supremacy of the architectural heritage. In addition to paintings, the ancient religious houses − many of them were reused or sold − had a very diverse set of artistic and religious heritage that had the most different destinations, in a conjuncture, so often, politically, socially and financially adverse. The taste, and the political, financial and logistical conditions would determine, inevitably, the choices, the “survival” or the “death” of many works of art.
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Ordens monásticas e religiosas - Portugal - séc.19 Secularização (Bens eclesiásticos) - Portugal - 1834-186 Património cultural - Portugal - Conservação e restauro - séc.19 Portugal - História religiosa - séc.19 Teses de doutoramento - 2017