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Constituição e dispersão da coleção de pintura portuguesa do Rei D. Fernando II: tratamento e análise de metadados a partir de fontes históricas
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| 4.19 MB | Adobe PDF |
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Abstract(s)
D. Fernando II, apelidado de Rei-Artista, teve um importante papel na difusão e no apoio dos artistas portugueses, durante o séc. XIX. O rei consorte foi também um prolífico colecionador, contando-se no seu variado espólio 187 quadros portugueses, que serão o foco da nossa investigação. Queremos compreender as escolhas do rei, os seus pintores preferidos e que beneficiaram do seu apoio. Em que correntes artísticas estavam inseridas? Que temáticas estavam mais presentes nesta coleção? Que destino foi dado a essas pinturas?
Para responder a todas estas questões necessitámos primeiro de inventariar estas obras. Devido a um testamento que chocou a família e a sociedade portuguesa, onde D. Fernando II deixa todos os seus bens à Condessa de Edla, revelou-se necessário ao processo de partilhas, a criação de um Inventário Orfanológico dos seus bens. Deste Inventário conseguimos retirar uma listagem de pintura de escola portuguesa, na sua maioria datada do século XIX, e cruzámos essa informação com o Catálogo dos Quadros de 1892, onde constavam as obras que seriam vendidas em hasta pública no ano seguinte.
O Inventário deu-nos também um importante conhecimento: quem foram os arrematadores no leilão e por quanto foram estas obras compradas. O passo seguinte foi descobrir mais dados sobre estes compradores e tentar seguir o percurso dessas obras até aos nossos dias. Algumas encontram-se em museus portugueses, mas muitas andam dispersas em coleções particulares nacionais ou estrangeiras. As informações recolhidas foram posteriormente sistematizadas, e algumas partilhadas na plataforma ORION, para que possam ser facilmente utilizadas por futuros historiadores.
D. Fernando II, known as the Artist King, played an important role in the dissemination and support of Portuguese artists, during the 19th century. The consort king was also a prolific collector, counting on his varied collection 187 Portuguese paintings, which will be the focus of our investigation. We want to understand the king's choices, his favourite painters and who benefited from his support. In what artistic currents were they inserted? What themes were most present in this collection? What destination was given to these paintings? To answer all these questions, we first needed to list the works. Due to a will that shocked the family and Portuguese society, where D. Fernando II leaves all his assets to the Countess of Edla, it was necessary for the process of sharing, the creation of an Orphanage Inventory of his assets. From this Inventory we managed to remove a listing of Portuguese paintings, mostly dated from the 19th century, and we crossed that information with the Auction Catalogue of Pictures from 1892, which contained the works that would be sold by auction the following year. The Inventory also gave us an important knowledge: who were the bidders in the auction and for how much these works were purchased. The next step was to find out more data about these buyers and try to follow the route of these works to the present day. Some were in Portuguese museums, but many are dispersed in private national or foreign collections. This information was systematized, and some of it shared on the ORION platform, so that it can be easily used by future historians.
D. Fernando II, known as the Artist King, played an important role in the dissemination and support of Portuguese artists, during the 19th century. The consort king was also a prolific collector, counting on his varied collection 187 Portuguese paintings, which will be the focus of our investigation. We want to understand the king's choices, his favourite painters and who benefited from his support. In what artistic currents were they inserted? What themes were most present in this collection? What destination was given to these paintings? To answer all these questions, we first needed to list the works. Due to a will that shocked the family and Portuguese society, where D. Fernando II leaves all his assets to the Countess of Edla, it was necessary for the process of sharing, the creation of an Orphanage Inventory of his assets. From this Inventory we managed to remove a listing of Portuguese paintings, mostly dated from the 19th century, and we crossed that information with the Auction Catalogue of Pictures from 1892, which contained the works that would be sold by auction the following year. The Inventory also gave us an important knowledge: who were the bidders in the auction and for how much these works were purchased. The next step was to find out more data about these buyers and try to follow the route of these works to the present day. Some were in Portuguese museums, but many are dispersed in private national or foreign collections. This information was systematized, and some of it shared on the ORION platform, so that it can be easily used by future historians.