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Igreja Barroca Matriz de Santo Amaro em São Paulo: história e património deslocado
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No Museu de Arte Sacra de São Paulo (MAS-SP) está exposto um par de retábulos oriundos da antiga e demolida igreja Barroca da Matriz de Santo Amaro. A beleza serena
e a simplicidade encantadora dessas peças despertaram-me profundo interesse em querer conhecer sua história e o que representam suas talhas. A ausência de informações mais detalhadas quanto à data de produção e à autoria instigou-me a iniciar esta investigação.
Os dois retábulos apesar de serem contemporâneos apresentam várias características distintas, portanto, optei por concentrar o estudo em apenas um deles. Não houve um
critério técnico para isso, mas apenas um gosto particular. Busquei, então, conhecer a história da igreja, cuja documentação revelou-se escassa. A seguir, voltei-me à história
do bairro, igualmente pouco explorada sob olhar científico. Isso levou-me a recuar mais na linha do tempo histórico, o que acabou por levar a história da cidade e da região de
São Paulo. Essa ampliação do escopo do trabalhou visou compreender os contextos sociais, religiosos e de posse de território os quais deram origem à antiga igreja Barroca,
nascida de uma capelinha erguida às margens do rio Jurubatuba, onde jesuítas, como José de Anchieta, usavam-na para celebrar pequenas missas e catequisar os gentios.
E, para finalizar, foi necessário a compreensão dos movimentos humanistas do Renascimento, das correntes artísticas do Maneirismo, do Barroco e do Rococó; bem
como os impulsos eclesiásticos da Contrarreforma e do Concílio de Trento, o que revelaram-se essenciais para interpretar a talha do retábulo. A pesquisa baseou-se em
literatura especializada, trabalhos académicos, manuscritos da Arquidiocese de São Paulo, fontes do Instituto Histórico e Geográfico de São Paulo e registos do Museu de
Arte Sacra de São Paulo (MAS-SP). Ao final, foi possível enquadrar cronologicamente a obra, identificar sua filiação ao estilo Barroco paulista e aproximá-la, com cautela, da
técnica de oficinas atuantes na região de São Paulo.
At the Museum of Sacred Art of São Paulo (MAS-SP), there is on display a pair of altarpieces originating from the old and demolished Baroque church of the Matriz of Santo Amaro. The serene beauty and charming simplicity of these pieces aroused in me a deep interest in discovering their history and understanding what their carvings represent. The absence of more detailed information regarding their date of production and authorship prompted me to begin this investigation. Although the two altarpieces are contemporaneous, they display several distinct characteristics; therefore, I chose to focus the study on just one of them. This choice was not based on a technical criterion, but rather on personal preference. I began by seeking to understand the history of the church, for which documentation proved to be scarce. Subsequently, I turned my attention to the history of the surrounding, which has likewise been little explored from a scholarly perspective. This led me to delve further back into the historical timeline, eventually expanding the scope of the research to encompass the history of the city and region of São Paulo. This broadening of the research aimed to comprehend the social, religious, and territorial contexts that gave rise to the old Baroque church, born from a small chapel built on the banks of the Jurubatuba River, where Jesuits such as José de Anchieta celebrated small masses and catechised the indigenous people. Lastly, it became necessary to grasp the influence of humanist movements of the Renaissance, the artistic currents of Mannerism, Baroque and Rococo, as well as ecclesiastical impulses such as the Counter-Reformation and the Council of Trent – all of which proved essential for the interpretation of the altarpiece’s carving. The research was grounded in specialised literature, academic works, manuscripts from the Archdiocese of São Paulo, sources from the Historical and Geographical Institute of São Paulo, and records from MAS-SP. In the end, it was possible to establish a chronological framework for the piece, identify its affiliation with the Paulistan Baroque style, and cautiously associate it with techniques employed by workshops active in the regions of São Paulo.
At the Museum of Sacred Art of São Paulo (MAS-SP), there is on display a pair of altarpieces originating from the old and demolished Baroque church of the Matriz of Santo Amaro. The serene beauty and charming simplicity of these pieces aroused in me a deep interest in discovering their history and understanding what their carvings represent. The absence of more detailed information regarding their date of production and authorship prompted me to begin this investigation. Although the two altarpieces are contemporaneous, they display several distinct characteristics; therefore, I chose to focus the study on just one of them. This choice was not based on a technical criterion, but rather on personal preference. I began by seeking to understand the history of the church, for which documentation proved to be scarce. Subsequently, I turned my attention to the history of the surrounding, which has likewise been little explored from a scholarly perspective. This led me to delve further back into the historical timeline, eventually expanding the scope of the research to encompass the history of the city and region of São Paulo. This broadening of the research aimed to comprehend the social, religious, and territorial contexts that gave rise to the old Baroque church, born from a small chapel built on the banks of the Jurubatuba River, where Jesuits such as José de Anchieta celebrated small masses and catechised the indigenous people. Lastly, it became necessary to grasp the influence of humanist movements of the Renaissance, the artistic currents of Mannerism, Baroque and Rococo, as well as ecclesiastical impulses such as the Counter-Reformation and the Council of Trent – all of which proved essential for the interpretation of the altarpiece’s carving. The research was grounded in specialised literature, academic works, manuscripts from the Archdiocese of São Paulo, sources from the Historical and Geographical Institute of São Paulo, and records from MAS-SP. In the end, it was possible to establish a chronological framework for the piece, identify its affiliation with the Paulistan Baroque style, and cautiously associate it with techniques employed by workshops active in the regions of São Paulo.
Descrição
Tese de Mestrado em Estudos do Património, apresentada à Universidade Aberta
Palavras-chave
Barroco Igreja Matriz Retábulo Santo Amaro de Ibirapuera São Paulo São Paulo de Piratininga Baroque Santo Amaro of Ibirapuera Parish church São Paulo of Piratininga Altarpiece