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Notas sobre as tábuas quinhentistas de São Martinho de Sintra e a pintura do Renascimento em Portugal
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Esta investigação estuda três pinturas quinhentistas notáveis representando os Santos Martinho,
Pedro e António, e pertencendo ao espólio patrimonial da Igreja Paroquial de São Martinho de
Sintra, tendo sido reveladas pelo historiador de arte Luís Reis Santos em 1936, atribuindo-as à
autoria oficinal dos “Mestres de Ferreirim” (Gregório Lopes, Cristóvão de Figueiredo e Garcia
Fernandes) e datando-as de 1531-1537.
Além de estas pinturas já terem sido reatribuídas pelos historiadores de arte Vitor Serrão e
Joaquim Caetano à autoria oficinal do pintor quinhentista Diogo de Contreiras, elas são ainda aqui
contextualizadas na produção pictórica nacional dos “Primitivos Portugueses”, pretendendo-se
também reflectir quanto às suas questões inerentes da conservação e do restauro.
This research studies three remarkable XVIth century’s paintings depicting Saints Martin, Peter and Anthony, belonging to the patrimonial assets of the Parochial Church of Saint Martin of Sintra, having been revealed by the art historian Luis Reis Santos in 1936 and attributing them to the workshop authorship of the “Ferreirim’s Masters” (Gregório Lopes, Cristóvão de Figueiredo and Garcia Fernandes) and dating them from 1531-1537. Apart from these paintings having already been reattributed to the workshop authorship of the XVIth century’s painter Diogo de Contreiras, they are also here contextualized in the national pictorial production of the “Portuguese Primitive Masters”, one also intending to reflect on its inherent issues regarding conservation and restoration.
This research studies three remarkable XVIth century’s paintings depicting Saints Martin, Peter and Anthony, belonging to the patrimonial assets of the Parochial Church of Saint Martin of Sintra, having been revealed by the art historian Luis Reis Santos in 1936 and attributing them to the workshop authorship of the “Ferreirim’s Masters” (Gregório Lopes, Cristóvão de Figueiredo and Garcia Fernandes) and dating them from 1531-1537. Apart from these paintings having already been reattributed to the workshop authorship of the XVIth century’s painter Diogo de Contreiras, they are also here contextualized in the national pictorial production of the “Portuguese Primitive Masters”, one also intending to reflect on its inherent issues regarding conservation and restoration.
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Pintura Renascimento Sintra Diogo de Contreiras São Martinho Portugal Saint Martin Renaissance Painting
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