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A arte do renascimento na antiga Diocese de Miranda (1545-1609)
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Abstract(s)
Este estudo tem dois objetivos de investigação bem explícitos, que decorrem em paralelo ao longo deste estudo: estudar a arte do Renascimento na Antiga Diocese de Miranda do Douro e constatar a influência dos primeiros sete prelados na incrementação deste estilo artístico.
Fixámos como limite temporal inferior, os meados do século XVI (1545), e superior, os inícios do século XVII (1608), meio século sensivelmente. O primeiro corresponde à criação da Diocese e o segundo marca o fim da prelazia de D. Diogo de Sousa, sétimo bispo de Miranda, a quem se deve a criação do seminário nesta cidade. A partir desta data, o maneirismo já está plenamente implantado.
Naquela Antiga Diocese, foi necessário adquirir quase tudo de forma a dignificar o culto. O resultado com que nos deparamos é uma amálgama constituída por elementos de arte de inspiração flamenga, italiana, espanhola e, ainda, por obras de artistas nacionais.
No que se refere à arquitetura, a dinâmica foi enorme. Surgiram construções que acabam por se integrar no abrangente Estilo Chão.
A escultura não deixou vestígios significativos.
Na pintura, preservam-se alguns frescos e pinturas a óleo, a maior parte inseridos em retábulos. Mais haveria, como se refere nos Inventários, mas terão desaparecido por variadíssimos motivos.
A ourivesaria religiosa é de grande qualidade. Também aqui aproveitaremos para contactar com algumas peças de produção nacional e com outras que vieram de Espanha.
This study has two very explicit research objectives that run in parallel throughout this study: to study Renaissance art in the Old Diocese of Miranda do Douro and to verify the influence of the first seven prelates in the development of this artistic style. We set the mid-16th century (1545) as the lower time limit and the early 17th century (1608) as the upper limit, roughly half a century. The first corresponds to the creation of the Diocese and the second marks the end of the prelature of D. Diogo de Sousa, seventh bishop of Miranda, to whom the creation of the seminary in this city is due and, from this date, Mannerism is already fully, implanted. In that Ancient Diocese it was necessary to acquire almost everything in order to dignify the cult. The result we are faced with is an amalgam made up of Flemish, Italian and Spanish inspired art elements, as well as works by national artists. With regard to architecture, the dynamic was enormous. Constructions emerged that ended up being integrated into the all-encompassing Estilo Chão. The sculpture left no significant traces. In painting, some frescoes and oil paintings are preserved, most of them inserted in altarpieces, there would be more, as mentioned in the Inventories, but they will have disappeared for a variety of reasons. Religious jewellery is of great quality, here we will also take the opportunity to get in touch with some pieces of national production and with others that came from Spain.
This study has two very explicit research objectives that run in parallel throughout this study: to study Renaissance art in the Old Diocese of Miranda do Douro and to verify the influence of the first seven prelates in the development of this artistic style. We set the mid-16th century (1545) as the lower time limit and the early 17th century (1608) as the upper limit, roughly half a century. The first corresponds to the creation of the Diocese and the second marks the end of the prelature of D. Diogo de Sousa, seventh bishop of Miranda, to whom the creation of the seminary in this city is due and, from this date, Mannerism is already fully, implanted. In that Ancient Diocese it was necessary to acquire almost everything in order to dignify the cult. The result we are faced with is an amalgam made up of Flemish, Italian and Spanish inspired art elements, as well as works by national artists. With regard to architecture, the dynamic was enormous. Constructions emerged that ended up being integrated into the all-encompassing Estilo Chão. The sculpture left no significant traces. In painting, some frescoes and oil paintings are preserved, most of them inserted in altarpieces, there would be more, as mentioned in the Inventories, but they will have disappeared for a variety of reasons. Religious jewellery is of great quality, here we will also take the opportunity to get in touch with some pieces of national production and with others that came from Spain.
Description
Tese de Doutoramento em História na especialidade de Estudos Avançados do Património apresentada à Universidade Aberta
Keywords
Concílio de Trento, 1545-1563 Estilo chão Maneirismo Ourivesaria religiosa Renascimento Pintura flamenga Council of Trent Ground style Mannerism Religious jewellery Renaissance Flemish painting
Citation
Pereira, Fernando Pires - A arte do renascimento na antiga Diocese de Miranda (1545-1609) [Em linha]. S.l.]: s.n.], [2024], 326 p.