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As múltiplas correntes plásticas da obra de Cyrillo Volkmar Machado (1748-1823)
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Este artículo pretende comprender las múltiples influencias plásticas en la obra de
Cyrillo Volkmar Machado, procurando definir uno de los artistas más incomprendidos de la
historiografía del arte portuguesa, muchas veces analizado como perteneciendo al “sistema” del
Tardo-Baroco. Inserido en el período de transición de la Edad Moderna para la contemporaneidad, a
este artista no era ajeno el nuevo estilo en boga en Europa, el Neoclasicismo. No lo siendo un artista
persistentemente neoclásico, puesto que sufrió influencias de diversas corrientes artísticas – como la
pintura del Renacimiento y Baroco romanos y del Baroco francés –, fue sin embargo bastante
permeable a los lenguajes de la Antigüedad Clásica, enunciándolos en sus obras. Además, Cyrillo
introdujo también el academismo en Lisboa, a través de la primera academia de dibujo en Portugal.
This article intends to understand the multiple plastic influences of Cyrillo Volkmar Machado’s work, in order to define one of the most misunderstood artists of the Portuguese historiography of art, often seen as belonging to the Late-Baroque “system”. Cyrillo was not a persistent neoclassical artist, since he suffered influences coming from different artistic movements: Roman Renaissance and Baroque painting and French Baroque painting. However, Cyrillo was very permeable to the artistic languages of the Classical Antiquity, using them in his work. Besides that, the artist introduced the academicism in Lisbon, through the first drawing academy in Portugal.
This article intends to understand the multiple plastic influences of Cyrillo Volkmar Machado’s work, in order to define one of the most misunderstood artists of the Portuguese historiography of art, often seen as belonging to the Late-Baroque “system”. Cyrillo was not a persistent neoclassical artist, since he suffered influences coming from different artistic movements: Roman Renaissance and Baroque painting and French Baroque painting. However, Cyrillo was very permeable to the artistic languages of the Classical Antiquity, using them in his work. Besides that, the artist introduced the academicism in Lisbon, through the first drawing academy in Portugal.
Descrição
Palavras-chave
Machado, Cirilo Volkmar, 1748-1823 Proto-neoclasicismo Neo-antiguo Iconografia
Contexto Educativo
Citação
BRAGA, Sofia – “As múltiplas correntes plásticas da obra de Cyrillo Volkmar Machado (1748-1823)”. In RUIZ, Isaac Palomino (Direcção.), Arte Y Patrimonio. Montilla: Asociación para la Investigación de la Historia del Arte y del Patrimonio Cultural “Hurtado Izquierdo”, nº 3 (2018), pp. 10-24
Editora
Asociación para la Investigación de la Historia del Arte y del Patrimonio Cultural “Hurtado Izquierdo"