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- Rediscovering the great panorama of Lisbon in tilesPublication . Flor, Pedro; Coutinho, Maria João Pereira; Ferreira, Sílvia; Flor, Susana Varela
- Grande panorama de Lisboa em azulejo: novos contributos para a fixação da data, encomenda e autoriaPublication . Flor, Pedro; Coutinho, Maria João Pereira; Ferreira, Sílvia; Flor, Susana VarelaO Grande panorama de Lisboa, obra maior da azulejaria nacional e hoje à guarda do Museu Nacional do Azulejo, pertenceu outrora a um palácio situado na freguesia de Santiago, propriedade da família Ferreira de Macedo no final do século xvii. A investigação apresentada procura esclarecer alguns aspectos relacionados com a execução do grandioso painel e com o perfil sócio-cultural do encomendador. À luz de novos elementos documentais, o artigo discute ainda a questão da autoria do painel, dada há muito ao pintor barroco Gabriel del Barco.
- The adaptation of the main floor of the Palace Melo e Abreu (18th century) to an infirmary of the old asylum of mendicity: history and tile panels compositional characterizationPublication . Flor, Susana Varela; Figueiredo, Catarina; Pilão, Célia; Meco, José; Dias, M. Isabel Marques; Prudêncio, M. Isabel; Trindade, Maria José; Flor, Pedro; Serrão, VítorDue to its sunny location and mild climate, the hill of Sant'Ana in Lisbon was, since early times, the place of construction of religious and civil buildings. In the eighteenth century, near the former Santo António dos Capuchos Convent (later Hospital – HSAC), a Baroque palace was erected and later on rebuilt by the Melo e Abreu family (later Condes de Murça in the 19th century), whose noble rooms were decorated by a set of high quality tiles, concerned with iconographic and plasticity aspects. The transfer of the Melo e Abreu family to the parish of Santos-o-Velho and subsequent founding of the Asilo da Mendicidade, allowed the purchase of the building in order to expand the assistance space. Currently, the palace serves hospital’s needs, with all the constraints resulting from the cohabitation between cultural heritage and professional medical care day life. Thus, Palace Melo e Abreu is a good case study, not only for the functional changes that it has been subjected to, but also for the rehabilitation measures for structural restoration and conservation made over time. For the assessment of its importance in terms of both heritage and scientific history, we will present an interdisciplinary study, including History of Art and Archaeometry; In this work (together with the history of the adaptation of the main floor of the Palace Melo e Abreu to an infirmary of the old asylum of mendacity) a first stage of the archaeometric approach is presented, comprising the compositional characterization (chemical and mineralogical) of both mortar and glazed tile body of selected panels. We believe that this paper will promote a deep reflection about the safeguard and future heritage policies of this kind of Lisbon's hospitals.
- Chemical and mineralogical characterization of ancient Portuguese ceramic tiles of the first quarter of the XVIIIth centuryPublication . Flor, Pedro; Carvalho, Ana Paula; Vaz, Fátima; Flor, Susana Varela; Esteves, Lurdes; Carvalho, Rosário Salema deThe main objective of the present work is to establish a correlation between the characteristics of the ceramic body of ancient tiles and the workshop where they were made. The work was carried out with tiles from the Museu Nacional do Azulejo collection, but the aim is to study the most important period of the history of tiles in Portugal, the first quarter of the 18th century, the so called Ciclo dos Mestres (Master’s Cycle). In the present work, we make use of SEM-EDS and DRX to determine the major constituents of the ceramic body, as well as to evaluate the procedure used to produce the tiles. Signed and unsigned tiles were used. The analysis of the chemical composition, mineralogical phases, shape and size of particles combined with historical information allowed to conclude that the tiles of the panel Vista de Lisboa (MNAz inv. 1) and Senhora dos Corações have identical global chemical composition but not the same mineralogical characteristics. Two other tiles featuring King Charles II (MNAz inv. 691) and his wife Queen Catherine of Braganza (MNAz inv. 690), present different properties, which indicate another provenience of the clay materials and, probably, another workshop and painter.
- Galeria dos Presidentes da Cruz Vermelha PortuguesaPublication . Flor, Pedro; Flor, Susana VarelaQuem visita o antigo Palácio dos Condes d’Óbidos em Lisboa encontra um edifício muito alterado, fruto de variadas intervenções arquitetónicas que alteraram profundamente o interior deste espaço áulico, entretanto adaptado às novas funções de Sede Nacional da Cruz Vermelha Portuguesa. Desta forma, a partir de 1919, com a aquisição do edifício aos antigos proprietários descendentes do 1.º Conde d’Óbidos, D. Vasco de Mascarenhas, o Palácio viria a conhecer sucessivas intervenções tanto ao nível das estruturas arquitetónicas, como ao nível da decoração de interiores, visíveis ainda hoje na Biblioteca, antigo Oratório, Sala de Jantar, entre outros espaços.
- Vademecum dos pintores régios (1450-1750)Publication . Flor, Pedro; Flor, Susana VarelaO Vade-mécum que seguidamente se apresenta pretende analisar o estatuto social do pintor ao serviço do rei. Através da leitura da documentação já publicada e de outra ainda inédita, apresentam-se as principais conclusões sobre o tema, tendo em consideração as várias modalidades praticadas pelos pintores, desde o fnal da Idade Média até ao tempo do Barroco. Deu-se particular destaque aos artistas estabelecidos junto da Corte que, no período considerado, permaneceu maioritariamente na cidade de Lisboa. A sistematização dos dados agora apresentados em tabela permitirá não só confrontar os privilégios alcançados pelos pintores, face aos cargos desempenhados, bem como aprofundar no futuro o tema da posição social do pintor, longe de fcar resolvido com este contributo.
- Retratos do Paço Ducal de Vila Viçosa (séculos XVI-XIX)Publication . Flor, Susana Varela; Flor, Pedro“Portraits of the Ducal Palace of Vila Viçosa” is the result of the research carried out by the authors on the relationship established between the House of Braganza and the art of portraiture, an artistic genre always appreciated in all times. The study of some of the still existing examples was the object of re"ection throughout the book, along with the analysis of others that came to us only by written references. It is based on the chronology of the construction of the Paço Ducal and on the most striking moments of its history. Besides, authors sought to explain how the use and possession of portraits served to affirm power during the 16th and 19th centuries in Portugal. From the portraits kept in the Paço Ducal collections, authors selected perhaps those of greater artistic and iconographic value, with particular emphasis on the magnificent pictorial set of the ceiling of the “Sala dos Duques”. From painting to tiles and from sculpture to miniature, the early modern period was privileged in the present book, the essential step for the consolidation of the highest statute of the House of Bragança in Portugal and in Europe.
- Characterization of the ceramic Glazed tiles of the Palácio Almada (Lisboa)Publication . Flor, Pedro; Carvalho, Ana Paula; Vaz, Fátima; Flor, Susana Varela; Santos, TeresaThis study reports the mineralogical and chemical characterization of the ceramic body of tiles signed by Gabriel del Barco, which belong to the Palácio Almada in Lisbon [1]. Nowadays, the tile panels are not in its original place and their appearance reflect the constant changes that they have been through. Gabriel del Barco was an important tile painter from the 17th century, who began his career as an oil painter, linked to the most relevant Portuguese baroque artists. The influent Almada family was the owner of the former palace near Rossio, one of the most significant and busy squares in 17th century Lisbon. Gabriel del Barco has been currently under investigation by the authors of this presentation through a FCT funded project [2]. In fact, the painter’s characteristics and his large amount of works (both signed and ascribed), make him a unique artist in the Portuguese tile’s panorama. Powder samples carefully removed from the two panels of the palace were analysed by X-ray diffraction (DRX) and energy-dispersive X-ray spectroscopy (EDS). The results revealed that the mineralogical and chemical compositions are almost the same for the two panels. Chloride is present only in one of the panels. A comparison with the present results is made with a recent work, where signed and nonsigned tiles attributed to the artist, was made [3]. We discuss the several factors that may affect the characteristics of old tiles, which may involve differences in the manufacturing process, or environmental factors as the precipitation of water
- Gabriel del Barco y Minusca pintor (1648-1701): elementos para uma visão prosopográfica da Lisboa barrocaPublication . Flor, Susana Varela; Flor, PedroPartindo da análise biográfica e artística do pintor espanhol Gabriel del Barco (1648-1701?), o presente texto tem como objectivo aprofundar a história entre Portugal e Espanha no período Barroco (séc. XVII), através das ligações à Corte de Madrid (intercâmbio de pintores e de famílias nobres), as inter-relações familiares (os Marqueses de Arronches, os Condes de Sabugal, os Condes de Palma, etc) e o culto religioso de Nossa Senhora da Atocha, gerador de dinamismo cultural peninsular. Baseados em dados documentais, relatos de diferentes fontes escritas, obras de arte existentes e referenciadas, procuraremos reconstituir o percurso de Gabriel del Barco em Portugal nos primeiros anos de carreira, aproveitando para caracterizar a sociedade (incluindo os artistas) da segunda metade do século XVII.
- Retratos setecentistas em Oeiras: contributos para o estudo da genealogia iconográfica do Marquês de PombalPublication . Flor, Susana Varela; Flor, PedroO presente artigo tem como objectivos centrais o de estudar a iconografia do 1.º Marquês de Pombal e o de estabelecer uma genealogia de imagens que nos permita entender melhor a evolução da retratística pombalina. A inexistência de um trabalho monográfico sobre a retratística de Sebastião José de Carvalho e Melo (1699-1782) é facto singular dada a relevância histórica e cultural desta personagem histórica. Os esforços empreendidos por outros autores no passado, de que destacamos Ernesto Soares, José Augusto França e, mais recentemente, Luísa Arruda, não esgotaram o tema e, por esse motivo, muito há a investigar sobre esta temática no contexto mais alargado da segunda metade do século XVIII. Não sendo o momento presente propício a tal empresa, que exige investigação de maior fôlego dado o número considerável de retratos a ter em conta, procurámos neste artigo traçar uma breve panorâmica sobre a genealogia da iconografia pombalina, integrando-a no espaço e no tempo e destacando os exemplos presentes no Palácio Pombal de Oeiras, nomeadamente a magnífica tela de Louis-Michel Van Loo (1707-1771) e Claude Vernet (1714-1789), hoje na Câmara Municipal de Oeiras, e a pintura da Concordia Fratrum de Joana Inácia Monteiro (1711-1781), habitualmente designada por Joana do Salitre.