Os Candeeiros e a sua representação gráfica no período de 1850 a 1914

Abstract

No final do século XVIII desenvolveram-se novos meios de iluminação aperfeiçoados ao longo do XIX. A intensidade de luz alcançada era superior às tradicionais fontes e rapidamente proliferaram e facilitaram a vida quotidiana. No mesmo período, coincidiram experiências em torno da impressão gráfica e da fotografia. Estes registos imediatamente se tornaram essenciais para a propaganda, ensino e disseminação de cultura. A crescente procura possibilitou custos reduzidos na sua produção e estas formas de comunicar foram habilmente utilizadas pela emergente indústria de luminária na conceção de recibos e de catálogos. A França foi o país percursor na utilização destes meios para evidenciar os candeeiros, cuja combinação possibilitou a criação de um grafismo muito próprio, necessário para promover e vender os artigos, influenciando assim outros países europeus. Todavia nestes enveredou-se por outras formas gráficas e que refletem a sua própria cultura.

At the end of the eighteenth century new means of lighting were developed, further improved during the nineteenth century. Their luminosity was superior in comparison to the traditional lighting sources. Quickly they spread and simplified daily life. This coincided with experiences around graphic printing and photography, in the same period. These means immediately became fundamental for propaganda, education and dissemination of culture. Their growing demand was responsible for the reduction of production costs. These forms of communication were cleverly used in the design of invoices and catalogues by the emerging lighting industry. France was pioneer in the use of these means to showcase its lamps. This combination of sources made possible the creation of distinct graphic design, necessary for the promotion and selling of the manufactured goods. This influence was predominant in other European countries. Nevertheless, in these the graphic design flourished into new forms that reflected their own culture. The use of iconography, symbology and heraldry was also a prestigious way used by the industry to impose itself. These strong sources were reinterpreted by the new arising bourgeoisie. These printings on paper were essential for disclosing new types of lamp, aesthetic concepts and daily use objects.The invoices and catalogues studied here reflect these approaches and their particularities