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A casa do colecionador. O Palácio das Necessidades e as obras de arte de D. Fernando II: exposição e fruição
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A presente dissertação aborda questões em torno da casa do colecionador tendo como intérprete
o Rei consorte D. Fernando II e a disposição e fruição da sua coleção de arte no Palácio das
Necessidades, em particular na chamada ala do convento.
Este núcleo palaciano, espaço privado de D. Fernando II enquanto rei viúvo a partir de meados
do século, destaca se como um projeto arquitetónico e decorativo focado na adaptação de uma
estrutura existente, organizando um acervo artístico amplo segundo um modelo curatorial
desenvolvido pelo próprio colecionador. Os objetivos do colecionador são aqui considerados,
mantendo um olhar relacional perante as implicações sociais e culturais da posição de D.Fernando II como rei e artista, figura oficial da monarquia constitucional, principal mecenas
artístico no contexto nacional, crítico de arte, protetor do património artístico, membro de um
círculo alargado de influências políticas e sociais com contactos no mercado de arte
internacional.
Numa fase inicial, a dissertação aborda o perfil do colecionador dentro do contexto nacional e
internacional. De seguida, considera de forma aprofundada o desenvolvimento do espaço do
Palácio das Necessidades em Lisboa como residência real e como casa disposta para a fruição
do colecionador. O capítulo seguinte trata a disposição das obras de arte e o plano decorativo
das divisões, no qual o colecionador produziu um projeto estético, museológico e residencial
de diálogo entre o vernáculo de Barroco português da estrutura original, e um modelo de
Romantismo decorativo com influências inglesas, germânicas e francesas.
he present dissertation approaches questions regarding the collector’s house, with the King-Consort D. Fernando II as its interpreter, and the distribution and enjoyment of his art collection in the Palace of Necessidades, particularly in the so-called conventual wing. This palatial center, D. Fernando II’s private space as a widower-king since the middle of the century, distinguishes itself as an architectural and decorative project focused on the adaptation of a pre-existing structure, organizing a vast artistic collection through a curatorial model developed by the collector himself. The collector’s goals are here considered, keeping a relational consideration before the social and cultural implications of D. Fernando II’s position as a king and an artist, an official figure of the constitutional monarchy, the main artistic patron of the national context, as an art critic, protector of artistic patrimony, and member of a wide-ranging circle of political and social influences with contacts in the international art market. Firstly, this dissertation tackles the collector’s profile in a national and international context. Then, it makes an in depth consideration of the development of the space of the Palace of Necessidades in Lisbon, as a royal residence and as a house arranged for the collector’s enjoyment. The following chapter works upon the disposition of the works of art and the decorative programme of the rooms, in which the collector produced an aesthetic, museological and residential project in dialogue with the vernacular Barroque architecture of the original structure, and a model of decorative Romantism with British, Germanic and French influences.
he present dissertation approaches questions regarding the collector’s house, with the King-Consort D. Fernando II as its interpreter, and the distribution and enjoyment of his art collection in the Palace of Necessidades, particularly in the so-called conventual wing. This palatial center, D. Fernando II’s private space as a widower-king since the middle of the century, distinguishes itself as an architectural and decorative project focused on the adaptation of a pre-existing structure, organizing a vast artistic collection through a curatorial model developed by the collector himself. The collector’s goals are here considered, keeping a relational consideration before the social and cultural implications of D. Fernando II’s position as a king and an artist, an official figure of the constitutional monarchy, the main artistic patron of the national context, as an art critic, protector of artistic patrimony, and member of a wide-ranging circle of political and social influences with contacts in the international art market. Firstly, this dissertation tackles the collector’s profile in a national and international context. Then, it makes an in depth consideration of the development of the space of the Palace of Necessidades in Lisbon, as a royal residence and as a house arranged for the collector’s enjoyment. The following chapter works upon the disposition of the works of art and the decorative programme of the rooms, in which the collector produced an aesthetic, museological and residential project in dialogue with the vernacular Barroque architecture of the original structure, and a model of decorative Romantism with British, Germanic and French influences.
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Fernando II, Rei de Portugal, 1816-1885 - E a arte Palácio das Necessidades (Lisboa, Portugal) - Colecções de arte Romantismo - Portugal Teses de mestrado - 2022