Do mais subido e gemado A talha da Igreja de Jesus

A talha da Igreja de Jesus de Aveiro, 2017

Synopsis Commented reading to the space of the church of Jesus as a heavenly metaphor and its impact on the believer, in particular the Aveirenses who frequented it. In this context, it is intended to understand the aesthetic, formal and morphological evolution of the carving and gilded work of the Church of Jesus as a space integrated in the National Baroque [Churches lined with gold]. Starting from the concept of "Church Lined with Gold" we will pay homage to a researcher and author of the unique work "The Talha in Portugal", published in 1962 (54 years ago), Professor Robert Smith, which goes on to quote: Baroque tendency to harmonious unity, the carving of the altarpiece grandly invades the parietal surface of the chapel, constituting a "golden cave", and hence the rest of the interior, making it a whole church of gold . Thus, based on the historical and documentary, visual and interpretative reading of the carving of the Church of Jesus of Aveiro, we will evaluate the compromise, as syntheses, between the architectural sobriety of the building and the exuberance of the interior of the Church of Jesus, materializing in a visible way the Invisible - invisibilia per visibilia . Key words: gilded carving, document, monument, device and retabular structures.

2017

Here we will approach the old carvings of the church of the Pátio do Colégio in São Paulo, Brazil. Built in the mid-seventeenth century, the third Jesuit church in São Paulo was ruined in March 1896, due to the heavy rains of late summer. It had been closed for a few years, and given the disinterest of the government of the state of São Paulo, at the time administrator of the seventeenth century church, it fell down for simple lack of maintenance. Although venerable, the building was considered very rude in appearance and therefore impossible to continue existing among the modern eclectic buildings recently built in the vicinity. Its ruins were destroyed without remorse and in the place the government had erected official constructions in extension to the palace of the government, contiguous building that from 1881 took the place of the Jesuit convent. Inside the ruined church, there was an altarpiece, at the back of the high altar and in each of the six side chapels, carving works then considered of little artistic value. By way of remembrance or testimony, parts of the main altarpiece, which was intact, and some carved woods fragments from other semi-destroyed altarpieces were collected. The rest was simply discarded, or, as they have said, distributed among characters of high economic and social standing. Unconnected, the pieces of collected wood were installed in an "artistic" arrangement in the church of the Sacred Heart of Maria (1897-1899). They returned only to the Pátio do Colégio in the late 1970s, when the replica of the ancient temple was concluded (1970-1979), re-established as a way of honoring the Fourth Centennial (1954) of the city of São Paulo. Exposed in the main chapel, with the reform of this chapel, occurred in 2009, the fragments were removed from the interior of the temple. Our objective in this work is to identify each of the altarpieces on the eve of the disaster of 1896, correlating them with the lateral chapels of the old church, with the successive invocations they had, according to the sacred images they harbored, and to draw stylistic considerations to respect for these ancient and relevant examples of religious art in São Paulo, now disappeared, from photographs taken immediately after the disaster. In addition, we discussed the supposed influence of Hispanic-American religious art in the creation of the famous 18th century litlle monkeys wood carving panel.

2017

Here we will approach the old carvings of the church of the Pátio do Colégio in São Paulo, Brazil. Built in the mid-seventeenth century, the third Jesuit church in São Paulo was ruined in March 1896, due to the heavy rains of late summer. It had been closed for a few years, and given the disinterest of the government of the state of São Paulo, at the time administrator of the seventeenth century church, it fell down for simple lack of maintenance. Although venerable, the building was considered very rude in appearance and therefore impossible to continue existing among the modern eclectic buildings recently built in the vicinity. Its ruins were destroyed without remorse and in the place the government had erected official constructions in extension to the palace of the government, contiguous building that from 1881 took the place of the Jesuit convent. Inside the ruined church, there was an altarpiece at the back of the high altar and in each of the six side chapels. Carving works then considered of little artistic value. By way of remembrance or testimony, parts of the main altarpiece, which was intact, and some carved woods fragments from other semi-destroyed altarpieces were collected. The rest was simply discarded, or, as they have said, distributed among characters of high economic and social standing. Unconnected, the pieces of collected wood were installed in an "artistic" arrangement in the church of the Sacred Heart of Maria (1897-1899). They returned only to the Pátio do Colégio in the late 1970s, when the replica of the ancient temple was concluded (1970-1979), re-established as a way of honoring the Fourth Centennial (1954) of the city of São Paulo. Exposed in the main chapel, with the reform of this chapel, occurred in 2009, the fragments were removed from the interior of the temple. Our objective in this work is to identify each of the altarpieces on the eve of the disaster of 1896, correlating them with the lateral chapels of the old church, with the successive invocations they had, according to the sacred images they harbored, and to draw stylistic considerations to respect for these ancient and relevant examples of religious art in São Paulo, now disappeared, from photographs taken immediately after the disaster. In addition, we discussed the supposed influence of Hispanic-American religious art in the creation of the famous 18th century litlle monkeys wood carving panel.

Antiguos jesuitas en Iberoamérica, 2016

Este estudo aponta a importância da Companhia de Jesus em São Luís do Maranhão, sobretudo no que se refere ao contexto das práticas artísticas jesuíticas encontradas na Catedral da Sé e sua preservação. Para efetuar esta tarefa, relata-se a contribuição dos inacianos a partir do século XVII na edificação do Colégio e da Igreja da N. S. da Luz e o percurso até se transformarem no Palácio Episcopal e Catedral da Sé. Os edifícios sofreram intervenções significativas e drásticas, principalmente as realizadas para as comemorações do Centenário da Independência do Brasil, em 1922. A pesquisa mostra que apenas o retábulo do séc. XVII sobreviveu até a atualidade, e prova que, ainda no início do século XX, existia uma pintura realizada pelos jesuítas no forro da capela-mor considerada “magnífica”, entretanto, destruída com as inúmeras reformas do templo.

O Sermão da Montanha, 2010

Ana Paula Bandeira Morais, 2022

Poucos edifícios religiosos encontraremos, em Portugal, como este, onde se possa apreciar de maneira clara e harmoniosa o uso dos três materiais que, tão claramente caracterizam e, portanto, distinguem, a expressão do Barroco português; a pintura decorativa, o azulejo e a talha. Apesar da relativamente reduzida dimensão do edifício e do carácter “regional” da obra, julgamos tratar-se de um caso de considerável maestria na realização técnica, de cada um destes materiais e, também, qualidade artística, especialmente no que à talha diz respeito. A presença do “horror vacui”, próprio da gramática decorativa da época, não invalida a existência de um singular equilíbrio e elegância de todo o conjunto, os quais transformam este interior, num caso particular de rara beleza. De entre os três materiais citados analisaremos, neste trabalho, de forma particular, a talha, procurando entender a relação dos elementos com o espaço e a invocação religiosa à qual o templo está dedicado. Palavras-chave : talha barroca portuguesa, azulejos, pinturas murais, retábulos barrocos Abstract There are few religious buildings in Portugal where one can appreciate, clear and harmoniously, the use of the three materials that so clearly characterize and therefore distinguish the expression of Portuguese Baroque, as in this one: decorative painting, tile and carving. Despite the relatively small size of the building and the “regional” character of the work, we believe that this is a case of considerable mastery in the technical and artistic quality of each of these materials, especially regarding carving. Despite the “horror vacui”, that defines the decorative grammar of the time, we can verify the existence of a singular balance and elegance of the whole set, which turns this interior into a particular case of rare beauty. Among the three mentioned materials, we will analyse, the carving, trying to understand the relationship of all the elements with the space and the religious invocation to which the temple is dedicated. Keywords : Portuguese baroque wood carving, tiles, wall painting, Baroque altarpieces

Revista Arautos do Evangelho, nº 158, p. 20-23, 2015

Brotéria, 2020

Publicado na revista Brotéria, este trabalho trata das obras decorridas na Capela Real do Paço da Ribeira pelas décadas à volta da sua elevação a Basílica Metropolitana Patriarcal, e do contexto em que as mesmas se inserem.

Littera, 2010