Advisor(s)
Abstract(s)
O 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 Great panorama of Lisbon, one of the utmost Portuguese masterpieces in tiles, today in the custody of the National Tile Museum, once belonged to a palace located in the parish of St. Tiago and owned by Ferreira de Macedo family in the late seventeenth century. This article quests to clarify some aspects related not only to the production and painting of the panel, but also to the social cultural profile of the commissioner. In light of new documentary evidence, the article also discusses the question of authorship of the panel, due to Baroque painter Gabriel del Barco
The Great panorama of Lisbon, one of the utmost Portuguese masterpieces in tiles, today in the custody of the National Tile Museum, once belonged to a palace located in the parish of St. Tiago and owned by Ferreira de Macedo family in the late seventeenth century. This article quests to clarify some aspects related not only to the production and painting of the panel, but also to the social cultural profile of the commissioner. In light of new documentary evidence, the article also discusses the question of authorship of the panel, due to Baroque painter Gabriel del Barco
Description
Keywords
Azulejos Iconografia Estudos olisiponenses Barroco Gabriel del Barco Palácio Ferreira de Macedo Lisboa Tiles Baroque Palace of Ferreira de Macedo Lisbon iconography
Citation
Publisher
Instituto de História da Arte - FCSH/NOVA