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2012/07/23

洋才書魂 127號 Maria Helena Vieira da Silva+ポルトガル美術 追加タイトル


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書籍注文については、上記カタログの16頁をご覧ください。

[37]
Art and Patronage in Eighteenth-Century Portugal.
Delaforce, Angela
2002, Cambridge University Press. xxvii, 504 p., [24] p. of plates
11.25 H x  1.50 D x  9.00 W inches  5.10 lbs.
23,730円から
Art_and_patronage_in_18th_century_p
This important contribution to eighteenth-century European studies is the first to explore the relationships between artists, patrons and connoisseurs in Portugal in the period. Angela Delaforce describes the splendor and magnificent ceremonial of the court of the Braganca monarch, Dom Joao V, adorned with works of art he commissioned from the leading masters in Italy and France and made possible by the fabulous wealth arriving from colonial Brazil. The author has gathered together a wealth of previously unpublished archival material discovered in Portugal and Italy to trace the development of these fascinating patterns of international patronage.

Booknews
In this substantial tome, Delaforce (a museum consultant and one of the editors of the ) focuses on patterns of collecting and patronage, with the royal family and major churches being the key players. The close interaction of Portugal with religious and artistic trends in Italy is a main theme. Among the topics included are the architectural and artistic policies of Dom Joao V, his political relations with Pope Clement XI and Rome, the commissions for the palace chapel, the building of the church complex at Mafra, and an assessment of the losses to art collections caused by the earthquake of 1755. Annotation c. Book News, Inc., Portland, OR (booknews.com)

[36]
Museu Nacional De Arte Antiga: Domingos Antonio De Sequeira Desenhos
Beaumont, Maria Alice Mourisca
Museu_nacional_de_arte_antiga_domin

1975, Instituto De Alta Cultura, Lisboa
Hardback with dust-wrapper. Text in Spanish. 286pp. Frontis. Illus. Loss to front of d/w. Creasing and tears to d/w. Foredge a little grubby.
11,960円より

Domingos António de Sequeira (Lisboa, 10 de Março de 1768 — Roma, 8 de Março de 1837) foi um pintor português.
De origem modesta, foi educado na Casa Pia de Lisboa, após o quê frequentou o curso de Desenho e Figura na Aula Régia e trabalhou como decorador. Com uma pensão de D. Maria I, em 1788, partiu para Itália e estudou na Academia Portuguesa em Roma, onde recebeu aulas de António Cavallucci.
Admitido, depois, na Academia di San Luca, aí pintou a Degolação de São João Baptista, a Alegoria à Casa Pia e a Aparição de Cristo a D. Afonso Henriques.
Regressou a Lisboa em 1795 e de 1798 a 1801 viveu no Convento da Cartuxa de Laveiras.
Nomeado pintor da corte em 1802 e co-director da empreitada de pintura do Palácio da Ajuda, aí pintou abundantemente. Em 1803 foi professor de Desenho e Pintura das princesas, e em 1806, director da aula de Desenho no Porto. Neste período pintou alegorias patrióticas e retratos, fazendo o desenho das peças para oferecer a Beresford.
Viveu intensamente as convulsões políticas da época — foi, sucessivamente, partidário do exército de invasão francês (Junot protegendo Lisboa, 1808), da aliança inglesa (Apoteose de Wellington, 1811), da revolução liberal (retratos de 33 deputados, 1821) e da Carta Constitucional (D. Pedro IV e Maria II, 1825), exilando-se em França com a contra-revolução absolutista da Vila-Francada, onde expôs, no Salão do Louvre, A Morte de Camões (quadro desaparecido no Brasil), obra que lhe mereceu medalha de ouro e colocação entre os pintores românticos mais representativos, ao lado de Eugène Delacroix.

[35]
Portuguese Modernisms
Multiple Perspectives on Literature and the Visual Arts
Edited by Steffen Dix and Jerónimo Pizarro

Portuguese_modernism_3

2011, Oxford, Legenda. xviii, 388 p. : 10.25 H x  1.00 D x  7.25 W inches  2.10 lbs.
9,660円
For a more encompassing and stimulating picture of Modernism – seen as a movement of the 20th century, a broad spectrum of work across many countries – we must explore not only its external diversity but also its internal plurality. Portuguese Modernism manifested itself both in visual art and in literature. But at the same time it is important to acknowledge the centrality of Modernism’s contribution to this time of profound cultural change. Indeed, the socio-cultural transformations marking the early twentieth century in Portugal still endure today. This volume provides a critical guide for students and teachers, contributed by an array of scholars with unparalleled knowledge of the period, its artists and its writers.

Steffen Dix is Research Fellow at the Institute of Social Science, University of Lisbon; Jerónimo Pizarro is Research Fellow at the Linguistics Centre, University of Lisbon.

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