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Publication
Preceitos para uma Arte Edificante: pintura e gravura na corte josefina através da obra de António Joaquim Padrão (c. 1730-1771)
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Authors
Abstract(s)
A investigação que se apresenta não se reduz à reconstrução históricobiográfica
de António Joaquim Padrão (c. 1730-71) – personalidade marginal no
panorâma artístico da capital, ainda assim com oficina aí fixada e operante durante o
terceiro quartel do século XVIII, tanto no domínio da pintura como da gravura –, do
corpus artístico do mesmo, tampouco à análise da sua obra, necessariamente
confrontada com a dos pares ou homólogos coetâneos no que à estética diz respeito.
Dedica-se, igualmente, a compreender a natureza, evolução, aplicação e contexto dos
diferentes tipos de linguagem corporal nos géneros de História Religiosa e Retrato, à luz
da generalização da ideia relativa ao poder instrutivo da imagem dentro do catolicismo e
regime.
Na primeira e segunda parte do escrito, atende-se à família e indivíduo, tanto
no plano privado como público e profissional (origens, condição social, nível de
instrução, agregado familiar, saúde, formação profissional, amigos, carteira de clientes,
contactos frequentes, obras, pensamento estético). Os dados recolhidos ajudam a
esclarecer a aparente contradição de ver este pintor – seguidor da corrente estética mais
acalentada pela Corte, formado na principal oficina da capital (André Gonçalves),
consorciado em trabalhos calcográficos com o primeiro pintor régio (Vieira Lusitano),
amigo e prestador de serviços artísticos a frei Manuel do Cenáculo (uma das mentes
mais esclarecidas do país e figura de relevo na Corte) – afastado das obras de maior
vulto que decorriam nos templos religiosos que se iam reedificando e, ao mesmo tempo,
manter a sua oficina activa e sem falta de trabalho.
A última parte dedica-se à análise dos elementos do tardo-Barroco romano
mais estimados no nosso país, essencialmente os mesmos louvados a nível
internacional, fundamentos do seu êxito e razões de continuidade, alicerçados, na
medida certa, no classicismo, no Barroco e no cânone de beleza do Renascimento,
referencial da linguagem virtuosa e sensível da figura humana (modéstia, humildade,
pudicícia).
This research it isn't confined to António Joaquim Padrão (c. 1730-71) – marginal personality in the portuguese capital artistic scene, yet with a independent workshop operating in the city during the third quarter of the eighteenth century, working has a painter and engraver – historical-biographical reconstruction, nor to his artistic corpus and simultaneously with that of his peers from an aesthetic point of view. It also concerns the understanding of the nature, evolution, use and context of distinctive types of body language in religious and portrait genres, in light of images instructive potencial within Catholicism and regime. In the first and second parts of this study we attend to the individual and family past, in private, public and profissional perspectives (origins, social status, educational degree, household, health, artistic training, friends circle, client portfolio, contacts, works, aesthetic thought). The collect data helped clarify the apparent contradiction of seeing him – follower or practitioner of the Court most cherished aesthetic, formed in the main workshop of the capital (André Gonçalves), consorted with the first regal painter (Vieira Lusitano) in engraved entreprises, friend of friar Manuel do Cenáculo (one of the most enlightened minds in the country and a prominent figure in the Court) – apart from the most import works that were starting in the rebuilted city religious temples and, at the same time, keeping his workshop active. The last part is committed to the analysis of the most esteemed elements of the roman late-Baroque in our country (with no significant difference from the international scene), basis of success and reasons for continuity (right dose of classicism, baroque and Renaissance canon of beauty; virtuous and sensitive language referentials of the human figure, like modesty, humility, pudency).
This research it isn't confined to António Joaquim Padrão (c. 1730-71) – marginal personality in the portuguese capital artistic scene, yet with a independent workshop operating in the city during the third quarter of the eighteenth century, working has a painter and engraver – historical-biographical reconstruction, nor to his artistic corpus and simultaneously with that of his peers from an aesthetic point of view. It also concerns the understanding of the nature, evolution, use and context of distinctive types of body language in religious and portrait genres, in light of images instructive potencial within Catholicism and regime. In the first and second parts of this study we attend to the individual and family past, in private, public and profissional perspectives (origins, social status, educational degree, household, health, artistic training, friends circle, client portfolio, contacts, works, aesthetic thought). The collect data helped clarify the apparent contradiction of seeing him – follower or practitioner of the Court most cherished aesthetic, formed in the main workshop of the capital (André Gonçalves), consorted with the first regal painter (Vieira Lusitano) in engraved entreprises, friend of friar Manuel do Cenáculo (one of the most enlightened minds in the country and a prominent figure in the Court) – apart from the most import works that were starting in the rebuilted city religious temples and, at the same time, keeping his workshop active. The last part is committed to the analysis of the most esteemed elements of the roman late-Baroque in our country (with no significant difference from the international scene), basis of success and reasons for continuity (right dose of classicism, baroque and Renaissance canon of beauty; virtuous and sensitive language referentials of the human figure, like modesty, humility, pudency).
Description
Keywords
Padrão, António Joaquim, 1730-1771 - Biografias Pintores portugueses - séc.18 Escultores portugueses - séc.18 Arte - Temas, motivos - Portugal - séc.18 Religião e moral Teses de doutoramento - 2019