Imagem Brasileira

FICHA CATALOGRÁFICA / COMISSÃO CIENTÍFICA

2025-01-24T13:38:18+00:00

THE MORELLI METHOD IN THE FORMAL AND ATTRIBUTIVE ANALYSIS OF DEVOTIONAL SCULPTURES

2025-01-24T14:41:09+00:00

This article deals with how the method created by the physician and art historian, Giovanni Morelli, was used in the formal and attributive analysis of the works of the artist Antônio Pereira dos Santos, the Master of Sabará, an artist from Minas Gerais identified during the preparation of the National Inventory of Movable and Integrated Goods by the former National Historical and Artistic Heritage Service, in 1986 and 1987. One of the objectives of the research was to deepen the methodology of formal analysis of devotional sculptures, using the “Morellian” method as a basis. In addition, flowcharts were developed for each stage to guide, in a didactic way, the study of the anatomical details of the works listed. The analysis process was carried out through a comparative study between the most significant formal anatomical elements of the works, identifying similarities and defining the main styles. As a result, it is possible to confirm, refute or establish new attributions to the master and his workshop. We consider that, when carrying out attributions, formal analysis is a tool in an interdisciplinary process in which historical analysis of the collection and its context, iconography and examinations of materials and techniques are essential.

WOOD WASHBASINGS IN THE CITY OF SABARÁ, MINAS GERAIS

2025-01-24T14:53:33+00:00

This article aims to present the comparative morphological analysis of the wooden washbasins found in the Church of Our Lady of Conception and in the Chapel of Saint Antony of Pompéu, in the city of Sabará, Minas Gerais. The rare existence of this type of liturgical- ornamental piece with wooden support in Minas Gerais makes the objects of this study important pieces for understanding the production of washbasins in eighteenth-century churches in Minas Gerais, in contrast to the Catholic Church's instructions for making them. The methodology used considers visits to temples, photographic records, identification of the main lines of the composition, identification of the morphological structure and the functioning of the washbasins.

THE SANTEIRO MASTER OF LAGOA DOURADA, MINAS GERAIS, BRASIL

2025-01-24T15:01:08+00:00

The objective of this article is to present the master saint maker who worked in Lagoa Dourada, a municipality in the Campos das Vertentes region, Minas Gerais. This master, whose name was not identified, is now known as Mestre de Lagoa Dourada. He traveled to other villages in Minas Gerais, where he created devotional sculptures. His work must have occurred in the first half of the 18th’ century and he left us significant works that have already been identified from his work, but others still need to be located, as long as information about the typology he constructed over time is better known. Among the images identified, some present more naive solutions and others with more maturity. The legacy of this Master includes an expressive collection of images, with styles that are immediately identifiable, due to their sculptural solutions and polychromy.

THE COLONIAL ARTISTS MANUEL DA CUNHA E SILVA AND MESTRE VALENTIM: THE CASE OF THE CHAPEL OF OUR LADY OF VICTORIES

2025-01-24T15:18:23+00:00

This article aims to observe the colonial artists Manuel da Cunha e Silva and Mestre Valentim da Fonseca e Silva in the Chapel of Nossa Senhora das Vitórias, in Rio de Janeiro, Brazil. A short biography of each artist is introduced, as well as a bibliographical review of academic texts that cite both artists and their works. The Chapel of Our Lady of Victories is a work from the Brazilian colonial period, which is part of the Church of the Venerable Third Order of Minimum of São Francisco de Paula. The church is a listed asset and one of the representatives of Brazilian and Rio de Janeiro's historical and artistic heritage.

THE FRANCISCAN BLESSED ANTÔNIO DE NOTO:

2025-01-24T16:51:05+00:00

The article presents a study on the devotional wooden images of the black Franciscan blessed Antonio de Noto, better known as Antonio "de Categeró" in Brazil, from the 17th to the 19th centuries. The mentioned Franciscan black devotion participated in the campaign of Christianization of the enslaved during that period. The action of the Capuchin Minor Friars and the brotherhoods of the Black Rosary resulted in the commissioning and production of polychrome sculptures destined for a series of built temples and domestic spaces. The methodology employed consisted of conducting a review of theoretical-practical studies for the technical and material analysis of representative sculptures. Possible influences of sociocultural issues, religious history, models, and reappropriations of iconographic representation of this veneration at the moment of conversion of blacks in the colonial universe and its ramifications were analyzed. The preservation of black devotional sculptures belonging to Brazilian heritage requires constant debate and symbolic interpretation, given their popularity, material relevance, and immaterial significance.

TWELVE SAINTS OF THIRD ORDER OF CARMEL, RECIFE, PERNAMBUCO

2025-01-24T17:01:37+00:00

This report pretends discuss about the origins and identification of a group of Saints of church of Third Order of Carmel, in the city of Recife, state of Pernambuco, Brazil. The main question was to try explain who was the persons and why they figured in this church in Recife, some of them are unknown. Throughout the research, other sculptures and painting examples and particulary one source literary helped in our identification.

A STUDY OF VOTIVE PRACTICES IN THE CITY OF SALVADOR, BAHIA, BRASIL (1701-1960)

2025-01-24T14:21:49+00:00

The objective of this article is to discuss the Bahian religious field, more precisely the votive practices that existed in Salvador, Bahia, in the period 1701-1960, with the scrutiny of the different types of devotional saints that existed. The methodology used was bibliographical, documentary and field research. As a result, twelve most common types of devotional saints were found, among which the following stand out: Nossa Senhora da Conceição, Senhor do Bonfim, Santo Antônio, São José, Nossa Lady Aparecida, Saint Cosmas and Damian, Saint Rita of Cassia, Saint Anna Mestra, Saint Anna with Mary, Baby Jesus, Baby Jesus of Prague and Baby Jesus of Mount. It was concluded that the old devotional practices of Salvador, Bahia, were replaced by new rites in the Bahian religious field and today's devotional saints are no longer the same as those from the period 1701-1960.

CYRIACO DA COSTA TAVARES (1879-1930) AND HIS SCULPTURAL WORK:

2025-01-24T14:30:14+00:00

In this article, we propose an initial and more attentive look at the art of Cyriaco da Costa Tavares, especially the sculpture of Our Lady of the Pillar, present in the Cathedral Basilica of the city of São João del Rei, Minas Gerais, Brazil. The article aims to unveil the figure of Cyriaco da Costa Tavares, to recover the importance that the image of Our Lady of the Pillar created by him has in the religious history of São João del Rei, as well as to perceive it as an element indicative of the change in stylistic and aesthetic taste regarding the religious art found in the city's main church. The relationship between the Marian cult and the origins of the place will be addressed, covering the emergence of the current main church and its changes over the centuries. The article will seek to perceive the change in the titular image as an indication of the influence of new stylistic tastes in the alteration of artistic elements of the Cathedral Basilica.

DISCUSSIONS ABOUT THE CONCEPT OF LEGIBILITY IN RESTORATION OF POLYCHROME WOOD SCULPTURES

2025-01-25T03:15:02+00:00

The concept of legibility applied to restoration procedures of religious sculptures with devotional and museological functions is often used in the development of intervention criteria in restoration objects. In defining these criteria, legibility may be related to other concepts of restoration theories, to the function of the restoration object and to the subject or community that owns the object. The aim of this article is to discuss the concept of legibility used in the restoration of devotional sculptures of active worship and museological function. We will exemplify this through monographs written by students of the course Conservation-restoration of movable cultural assets at the School of Fine Arts of the Federal University of Minas Gerais, who used this concept as a guide in the restoration of polychrome wooden sculptures from the 18th and 19th centuries, belonging to the Archdioceses of Belo Horizonte and Diamantina, in Minas Gerais, Brazil.

APRESENTAÇÃO

2025-01-24T13:48:08+00:00

NORMAS PARA SUBMISSÃO DE ARTIGOS

2025-01-24T18:05:51+00:00

THE IMAGE OF A DANCING GOD:

2025-01-24T13:23:31+00:00

The study of Imagery, specifically religious sculptures, within the scope of a social historiography of Art and Culture, in addition to its uses in classroom focused on Teaching Practices and Material Culture, is expanding under the light of developments across various fields of knowledge. Among Asian iconographies, within the realm of Indian Art, are the representations of Shiva, one of the most important Hindu deities. In his “Nataraja” aspect, the dancing god is among the most emblematic images in Indian cultures. Although originating from millennia-old religions, historically linked to the Indus Valley Civilization, Shiva's figures have transcended centuries and circulate beyond religion, appearing in philosophical, anthropological, artistic, and literary contexts. This article examines the historical foundations that gave rise to the deity, represented in the image of the dancing god, and related productions, located in the collection of the National Museum of India in Delhi. Additionally, it proposes, as an educational contribution, a reflection on the dialogues between art and otherness, valuing interreligious dialogue and iconographic research.

IMAGES OF THE PARISH CHURCHES OF THE MUNICIPAL CENTRES OF THE VALE DO LIMA. 16TH TO 18TH CENTURIES

2025-01-24T14:07:45+00:00

Parish churches are dynamic centers of local community life. In the case of the main churches of the most important towns and villages in a territorial reality, this dynamism is more pronounced due to their urban development, higher population density, and greater economic activity. The main temple of municipal centres generally depends on various authorities: Municipal Chambers, confraternities, individuals and the Church. The construction processes of these spaces and the commissioning of their fixed and mobile equipment were conditioned by the financing from these authorities and obeyed to a complex body of regulations imposed by the Tridentine reform. The aim of this article is to identify the different imagery commission cycles produced between the late 16th and 18th centuries for the collegiate churches of Viana do Castelo and Ponte de Lima and the parish churches of Arcos de Valdevez and Ponte da Barca, urban centres located in the Lima Valley.

THE CHANGING OF SAINTS IN THE CHURCH OF SÃO FRANCISCO OF SÃO PAULO (1828-1910)

2025-01-24T15:28:27+00:00

An episode, which took place while the Brotherhood of São Benedito administered the Convent church of São Francisco of São Paulo, was particularly cited by the Franciscan historians in the beginning of the 20th century: the changing of the saints on the high altar of the convent church, as well as the consequent change of devotional title on the temple. This article analyses the episode, highlighting the replacement of the image of Saint Francis with that of Saint Benedict, fact that occurred after the acquisition of a new altarpiece. The black community housed in the Largo São Francisco church was aware of the political and social contexts surrounding it, particularly, the movements for the abolition of slavery in Brazil.

CHARACTERISTICS IN POLYCHROMIES OF MINAS, PERNAMBUCO AND JOÃO PESSOA, PARAÍBA

2025-01-24T17:07:45+00:00

Presentation of the results of direct observation of several polychrome sculptures in Minas Gerais and some northeastern states. The methodology used was the study of texts on the subject, of selected sculptures from the 18th and 19th centuries, although some from the 17th century were included in the research, comparing and seeking to find aspects that distinguished and characterized them. The main focus was the polychromies of the images, especially the figures clothing, whether with metallic foil or not, and various types of techniques, such as sgraffito, punches and reliefs, seeking to identify the most important characteristics in each region.

THE FIGURINAI DELLA LUCCHESIA:

2025-01-24T17:15:42+00:00

In the first half of the 20th century, factories for devotional plaster sculptures were established in Guaratinguetá, São Paulo, founded by Italian immigrants from the Bagni di Lucca region, known for the distinctive tradition of the figurinai della Lucchesia. The aim of this article is to analyze the evolution of devotional plaster sculptures in Brazil. The figurinai have left traces since the 19th century, especially in São Paulo and Rio de Janeiro. In the early 20th century, some figurinai immigrated to Recife, Salvador, Rio de Janeiro, and Guaratinguetá, from which Aparecida was emancipated in 1928. The factories of the Lucchesi and Petrini immigrants were pioneers in producing devotional sculptures to meet the demand near the National Shrine.

OUR LADY OF THE ROSARY:

2025-01-24T17:29:19+00:00

This work aims to present the material characterization of a polychrome wooden sculpture, which is part of religious imagery from the city of Pelotas, Rio Grande do Sul. Belonging to the Metropolitan Cathedral São Francisco de Paula, the image represents Our Lady of the Rosary and exhibits as its main iconographic technical features the right hand closed to hold the rosary and the left arm positioned to carry the baby Jesus. The research exposes the structural characteristics of the three-dimensional work, a semi-articulated dressed image of “roca” type. Its visual and physicochemical characteristics are addressed through macroscopic imaging and molecular analysis. Photographs obtained under visible light and by fluorescence in the visible range with ultraviolet stimulation, radiographic images, and spectra obtained by infrared absorption spectroscopy. Furthermore, a brief introduction to the concepts of technical art history, heritage science and polychrome wooden sculptures is provided, linking them to an analytical case study.

HISTORICAL ANATOMY OF THE IMAGE OF THE SACRED HEART OF JESUS:

2025-01-29T13:20:43+00:00

This study aimed to evaluate the devotional wooden image of the Sacred Heart of Jesus regarding its current state of conservation and to identify the wood species used in its This study manufacture, providing a basis for restoration efforts and understanding the symbolic significance attributed to the wood employed in sacred art carpentry. In conjunction with
traditional conservation and restoration techniques, radiographic imaging and structural wood analysis were utilized. The wood was identified as cedar (Cedrela odorata – Meliaceae). The analysis of the conservation state of the Sacred Heart of Jesus devotional image, supported by radiographic techniques, revealed the presence of wood pathologies, highlighting the urgent need for intervention to restore the authenticity and original beauty of this historical artifact, thus contributing to the restoration process. This study underscores the importance of preserving religious and historical heritage, as well as the relevance of investigative research grounded in the scientific field of historical anatomy to support restoration practices.

THE MATERIALITY OF JOÃO OLIVEIRA’S SCULPTURAL ART UNVEILING THE PRESENCE OF UMWELT

2025-01-24T17:42:13+00:00

The objective of this article is to reflect on the artistic productions of João Oliveira through an iconographic and formal analysis of some of his sculptures. Contemplating the imagetic ensemble produced by the artist reveals the presence of the Umwelt within the universe of meaning embedded in the subjective bubble inherent to every human being. It is from the twisted branches of the umburana tree that the convulsive forms of his images emerge. The iconographic analysis is predominantly religious in contrast to the profane. Across his body of work, the presence of geometric shapes is observed, reverberating in cubes and circular forms, similar to intertwining ribbons, although the artist shows a preference for the human figure. Regarding the materiality of his work, the artist uses umburana de espinho as a medium, striving to create almost imperceptible joints to conceal knots or imperfections in the wood.

REVISTA COMPLETA

2025-01-24T20:34:43+00:00