Nuno Saldanha
Art Historian with extensive published work, particularly in the fields of History of Painting, Art Theory, Iconography, and History of Naval Architecture, in the 18th and 19th centuries. He holds a PhD in Art History from Universidade Católica Portuguesa and a M.A. degree in Cultural and Political History (History of Aesthetic Ideas) from Universidade Nova de Lisboa. Associate Professor at IADE- Faculdade de Design, Tecnologia e Comunicação/Universidade Europeia. Researcher at the Center of History of the University of Lisbon, and Associate researcher at CHAM/U.N.L. In the area of museology, he was Chief Curator at Galeria Rei D. Luís/Palácio Nacional da Ajuda, Management Advisor at Museu Ricardo do Espírito Santo Silva, Director at Casa-Museu dos Patudos, and Curator of several exhibitions.
Academic of the National Academy of Fine Art and Academia de Marinha.
Academic of the National Academy of Fine Art and Academia de Marinha.
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example of the role of Art in mediating the processes of production and transmission of cultures,
precisely in bridging the gap between Roman and Portuguese pictorial cultures, according to the
taste and motivation of the sovereign. At the same time, it reveals that this ambitious artistic project
exceeded the boundaries of the capital and the idea of a “Lisboa Romana”, extending it to various
cities throughout the kingdom.
At this point, Agostino Masucci (1691-1758) proves crucial, as he was entrusted with the execution of
the Assumption of Our Lady for the main altar. Becoming the favorite painter of King João V shortly
after the success of his work for Mafra, Masucci assumes from now on a prominent role in the king’s
commissions, serving as a preeminent mediator between the two cultures, in a bilateral and reciprocal
manner, especially in the creation of visual models that it would be echoed in Italy.
Navy at the beginning of the 19th century, especially with regard to shipbuilding, the
figure of the naval engineer-shipbuilder Manuel Luís dos Santos is of singular importance.
He is an example of the effort to keep the tradition of great shipbuilding alive, particularly
with regard to its modernization. According to the praising words of Cardinal Saraiva, in
1842, he was “the most skillful and distinguished Shipbuilder in the Portuguese navy today”.
Despite being often mentioned as the author of some of the most remarkable ships of the late 1700s, however, till now, very little was known about the life and work of this master shipbuilder, who was in service, for more than four decades, at the Royal Arsenal of Lisbon.
The few biographical references known to date, were written by the famous Venetian geographer Adriano Balbi (1782-1848), who was in Portugal during the first quarter of the 19th century, who mentions him in a chapter dedicated to Naval Architecture; and later, by Friar Francisco de S. Luís (Cardinal Saraiva), in his well-known list of some Portuguese artists, published in 1839.
In addition to being recognized for its extensive production and activity, and the excellent ships built by him, Clavina is pointed out by Balbi as having adopted the theory of the famous Swedish shipbuilder Frederik Chapman. This is, without a doubt, an extraordinary circumstance in the History of Portuguese Naval Construction that we intend to examine here, along with the characterization of his work and the contribution of new biographical data.
master of genre, landscape, and portrait painting, with history
and allegorical painting. However, this theme also occupied
a significant part of his picture production, as evidenced by
the vast work already inventoried1. Actually, Malhoa was the
author of about a hundred historical paintings, mostly made up
of large decorative panels, in accordance with the taste of the
time, filling various spaces in public, commercial, and private
buildings.
Although it is a public and widely disseminated painting, at least since the mid-20th
century, it was systematically identified as The Apparition of Our Lady and Baby Jesus to Saint Domingo de Guzmán until recently.
Portugal is privileged to have one of the most unique collections of royal gala ships in the world. It is a unique set of six copies, originals from the 18th century and the beginning of the 19th century, which remained in use until the mid-20th century, becoming part, in 1962, of the collection of the Museu de Marinha, in Lisbon. Paradoxically, despite being the only surviving cases of ships from the 18th century, in most cases, the existing information is much lower than what is known about other ships that disappeared in the meantime. preservation, with the exception of the texts by Inácio de Vilhena Barbosa, António Marques Esparteiro, or Alberto Cutileiro, this extraordinary collection has not received the attention it deserves from scholars, as is the case with the global history of royal vessels throughout the Modern Age.
Despite ignored, Manuel de Araújo constitutes an important testimony of two central circumstances for the knowledge of Luso-Brazilian Naval Architecture and shipbuilding. First, as the instrument of modernization and standardization policies of Portuguese Royal Navy, typologies, and construction systems, on both sides of the Atlantic, through the transfer of shipbuilders, models, and ship plans to the royal arsenals in Brazil. On the other hand, as protagonist in the implementation of the «English model», introduced in Lisbon shipyards of Ribeira da Naus, in the early 18th century, by the British shipbuilders, William and Francis Warden.
KEYWORDS: Naval Architecture; Shipbuilding; United Kingdom of Portugal, Brazil, and Algarves; 19th Century Navy
Indeed, as is well known, the magnificent cultural policy that began to unfold from the late 17th century and reached its climax during the reign of King John V extended to Italy, France, Austria, Belgium, and the Netherlands, in an unparalleled process of Portuguese patronage, encompassing almost all areas of artistic production.
We will begin our study with an analysis of the Italo-Roman environment at the end of the 17th century and the beginning of the 18th century, in order to understand how King John V could penetrate an environment of patronage characterized throughout the Modern Age by exclusivity and papal monopoly.
Then, having found the archetype and the conditions for its access, it was important to seek sources and guiding models that could support the sovereign's choices in his patronage and sponsorship policy. These will fundamentally be the Society of Jesus and the Arcadia, as we shall see.
Another highly relevant aspect of this work is the discovery of the beginning of Agostino Masucci's activity for Portugal, long before his participation in the pictorial decoration of Mafra in 1729, and the Jesuits' sponsorship of his first collaboration in 1718.
Exposição que teve lugar na Galeria José Relvas, espaço dedicado às exposições temporárias da Casa-Museu dos Patudos, em Alpiarça, com uma pequena mostra de pintura dedicada ao pintor espanhol de origem belga, Carlos de Haes (c. 1826-1898). Embora consista numa pequena colecção (sobretudo se tivermos em consideração que o artista nos legou, de mais de quatro mil obras), composta por apenas oito peças, que fazem parte do espólio disperso pelas salas da Casa-Museu. A exposição pretende, não apenas divulgar a pintura de Haes, mas também dar a conhecer o gosto do importante coleccionador que foi José Relvas. De facto, não podemos esquecer que este museu se reveste duma dupla vertente, tanto artística como biográfica, perpetuando a memória da figura de José Relvas e, ao mesmo tempo, a sua colecção, que é naturalmente reveladora do gosto e dos critérios de selecção do seu proprietário.
ship of the line Principe do Brazil was one of the
vessels that integrated the fleet that brought the
Royal Court from Lisbon to Brazil in 1808. The
discovery of an unidentified ship plane, which
also allowed the identification of one of the ship
models lost in the ancient “Escola Naval”, as
well as new data about its author, constitute
a precious finding for Late 18th and early 19th
Century Luso-Brazilian Naval Architecture and
Shipbuilding studies.
example of the role of Art in mediating the processes of production and transmission of cultures,
precisely in bridging the gap between Roman and Portuguese pictorial cultures, according to the
taste and motivation of the sovereign. At the same time, it reveals that this ambitious artistic project
exceeded the boundaries of the capital and the idea of a “Lisboa Romana”, extending it to various
cities throughout the kingdom.
At this point, Agostino Masucci (1691-1758) proves crucial, as he was entrusted with the execution of
the Assumption of Our Lady for the main altar. Becoming the favorite painter of King João V shortly
after the success of his work for Mafra, Masucci assumes from now on a prominent role in the king’s
commissions, serving as a preeminent mediator between the two cultures, in a bilateral and reciprocal
manner, especially in the creation of visual models that it would be echoed in Italy.
Navy at the beginning of the 19th century, especially with regard to shipbuilding, the
figure of the naval engineer-shipbuilder Manuel Luís dos Santos is of singular importance.
He is an example of the effort to keep the tradition of great shipbuilding alive, particularly
with regard to its modernization. According to the praising words of Cardinal Saraiva, in
1842, he was “the most skillful and distinguished Shipbuilder in the Portuguese navy today”.
Despite being often mentioned as the author of some of the most remarkable ships of the late 1700s, however, till now, very little was known about the life and work of this master shipbuilder, who was in service, for more than four decades, at the Royal Arsenal of Lisbon.
The few biographical references known to date, were written by the famous Venetian geographer Adriano Balbi (1782-1848), who was in Portugal during the first quarter of the 19th century, who mentions him in a chapter dedicated to Naval Architecture; and later, by Friar Francisco de S. Luís (Cardinal Saraiva), in his well-known list of some Portuguese artists, published in 1839.
In addition to being recognized for its extensive production and activity, and the excellent ships built by him, Clavina is pointed out by Balbi as having adopted the theory of the famous Swedish shipbuilder Frederik Chapman. This is, without a doubt, an extraordinary circumstance in the History of Portuguese Naval Construction that we intend to examine here, along with the characterization of his work and the contribution of new biographical data.
master of genre, landscape, and portrait painting, with history
and allegorical painting. However, this theme also occupied
a significant part of his picture production, as evidenced by
the vast work already inventoried1. Actually, Malhoa was the
author of about a hundred historical paintings, mostly made up
of large decorative panels, in accordance with the taste of the
time, filling various spaces in public, commercial, and private
buildings.
Although it is a public and widely disseminated painting, at least since the mid-20th
century, it was systematically identified as The Apparition of Our Lady and Baby Jesus to Saint Domingo de Guzmán until recently.
Portugal is privileged to have one of the most unique collections of royal gala ships in the world. It is a unique set of six copies, originals from the 18th century and the beginning of the 19th century, which remained in use until the mid-20th century, becoming part, in 1962, of the collection of the Museu de Marinha, in Lisbon. Paradoxically, despite being the only surviving cases of ships from the 18th century, in most cases, the existing information is much lower than what is known about other ships that disappeared in the meantime. preservation, with the exception of the texts by Inácio de Vilhena Barbosa, António Marques Esparteiro, or Alberto Cutileiro, this extraordinary collection has not received the attention it deserves from scholars, as is the case with the global history of royal vessels throughout the Modern Age.
Despite ignored, Manuel de Araújo constitutes an important testimony of two central circumstances for the knowledge of Luso-Brazilian Naval Architecture and shipbuilding. First, as the instrument of modernization and standardization policies of Portuguese Royal Navy, typologies, and construction systems, on both sides of the Atlantic, through the transfer of shipbuilders, models, and ship plans to the royal arsenals in Brazil. On the other hand, as protagonist in the implementation of the «English model», introduced in Lisbon shipyards of Ribeira da Naus, in the early 18th century, by the British shipbuilders, William and Francis Warden.
KEYWORDS: Naval Architecture; Shipbuilding; United Kingdom of Portugal, Brazil, and Algarves; 19th Century Navy
Indeed, as is well known, the magnificent cultural policy that began to unfold from the late 17th century and reached its climax during the reign of King John V extended to Italy, France, Austria, Belgium, and the Netherlands, in an unparalleled process of Portuguese patronage, encompassing almost all areas of artistic production.
We will begin our study with an analysis of the Italo-Roman environment at the end of the 17th century and the beginning of the 18th century, in order to understand how King John V could penetrate an environment of patronage characterized throughout the Modern Age by exclusivity and papal monopoly.
Then, having found the archetype and the conditions for its access, it was important to seek sources and guiding models that could support the sovereign's choices in his patronage and sponsorship policy. These will fundamentally be the Society of Jesus and the Arcadia, as we shall see.
Another highly relevant aspect of this work is the discovery of the beginning of Agostino Masucci's activity for Portugal, long before his participation in the pictorial decoration of Mafra in 1729, and the Jesuits' sponsorship of his first collaboration in 1718.
Exposição que teve lugar na Galeria José Relvas, espaço dedicado às exposições temporárias da Casa-Museu dos Patudos, em Alpiarça, com uma pequena mostra de pintura dedicada ao pintor espanhol de origem belga, Carlos de Haes (c. 1826-1898). Embora consista numa pequena colecção (sobretudo se tivermos em consideração que o artista nos legou, de mais de quatro mil obras), composta por apenas oito peças, que fazem parte do espólio disperso pelas salas da Casa-Museu. A exposição pretende, não apenas divulgar a pintura de Haes, mas também dar a conhecer o gosto do importante coleccionador que foi José Relvas. De facto, não podemos esquecer que este museu se reveste duma dupla vertente, tanto artística como biográfica, perpetuando a memória da figura de José Relvas e, ao mesmo tempo, a sua colecção, que é naturalmente reveladora do gosto e dos critérios de selecção do seu proprietário.
ship of the line Principe do Brazil was one of the
vessels that integrated the fleet that brought the
Royal Court from Lisbon to Brazil in 1808. The
discovery of an unidentified ship plane, which
also allowed the identification of one of the ship
models lost in the ancient “Escola Naval”, as
well as new data about its author, constitute
a precious finding for Late 18th and early 19th
Century Luso-Brazilian Naval Architecture and
Shipbuilding studies.
M.A. Dissertation in History of Aesthetic Ideas presented to Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa. Published by Editorial Caminho in 1995.
Apesar da popularidade da sua figura, e da extensa fortuna crítica que a ele lhe tem sido dedicada, Malhoa carecia ainda de um estudo sistemático global, e de contextualização, quer a nível nacional, como, sobretudo internacional, no sentido de compreender a eventual especificidade da sua obra, e personalidade. Pretendeu-se realizar uma análise detalhada e sistemática da sua vida e obra, não apenas desconstruindo esse “mito da portugalidade”, como também, perceber os moldes em que se desenvolveu a sua produção pictórica, através das ideias, dos modelos, influências e resultados, numa obra profusamente ilustrada com cerca de 300 fotografias.
This work aims to study one of the most charismatic and compelling characters in the panorama of nineteenth-century Portuguese Art History. One of the most idolized, but also most controversial, particularly given the epithet of "the most Portuguese Portuguese painters."
Despite the popularity of his figure, and the vast fortune that the criticism he has been paid, Malhoa still lacked a systematic study of global and context, both at national and especially international, to understand the possible specificity of his work and personality.
We intended to conduct a detailed and systematic analysis of his life and work, not only deconstructing the myth of the Portuguese ", but also understand the ways in which developed his pictorial production, through the ideas, models, influences and outcomes , a work profusely illustrated with 300 photographs
Based on a broad discussion of the evolution of maritime warfare through a multi and interdisciplinary approach, it encompasses the most diverse areas of research, both in terms of ship typologies and weaponry, as well as the corresponding scientific and technological progress that supported that same evolution (Nautic, hydrostatics, hydrodynamics, pyroballistic, naval architecture, design, naval engineering, etc.), including the Maritime Cultural Heritage. From a broader perspective, it is also intended to highlight the contribution of the War at Sea to globalization in the transfer of knowledge and techniques, which unavoidably promoted a broader understanding of the oceans.
Fundação Calouste Gulbenkian, Lisboa
11-12 de Outubro de 2016
Data limite para submissão de propostas: 29 de Abril
Organização: IHA, FCSH, Universidade NOVA de Lisboa, e Projecto de Investigação Nacional Espanhol COPIMONARCH,
Universidade de Granada
O Congresso Internacional “A Cópia Pictórica em Portugal, Espanha e no Novo Mundo, 1552-1752” pretende reflectir renovadamente sobre o fenómeno da cópia nestes territórios num período de dois séculos, iniciando-se esta reflexão em 1552, data da chegada de Antonio Moro a Portugal e concluindo-se em 1752, quando se fundou a Real Academia de Belas Artes de São Fernando em Madrid.
Este encontro científico é organizado pelo grupo Medieval and Early Modern Art Studies do IHA, através dos investigadores Pedro Flor e Susana Varela Flor, e pelo Projecto de Investigação Nacional Espanhol COPIMONARCH, da Universidade de Granada.
Comissão Científica
António Candeias (HERCULES/Universidade de Évora)
David Garcia Cueto (Univesidad Granada)
José Alberto Gomes Machado (Universidade de Évora)
Isabel Mendonça (IHA, FCSH, Universidade NOVA de Lisboa)
Luisa Elena Alcalá (Universidad Autonoma Madrid)
Maria João Pereira Coutinho (IHA, FCSH, Universidade NOVA de Lisboa)
Nuno Saldanha (IADE)
Pedro Flor (IHA, FCSH, Universidade NOVA de Lisboa / Universidade Aberta)
Sílvia Ferreira (IHA, FCSH, Universidade NOVA de Lisboa)
Susana Varela Flor (IHA, FCSH, Universidade NOVA de Lisboa)
Vítor Serrão (ARTIS – FLUL / Universidade de Lisboa)
Comissão Executiva
Ana Celeste Glória (IHA, FCSH, Universidade NOVA de Lisboa)
Raquel Seixas (IHA, FCSH, Universidade NOVA de Lisboa)