TEODÓSIO BERNARDES DA FONSECA

recent research from the images of the Capela de Nossa Senhora das Mercês e Perdões of Vila Rica.

Abstract

The Brazilian sculpture has been approached by several historiographical researches in the last decades. Nevertheless, the work and trajectory of some sculptors remains poorly studied. Thus, this article presents aspects about the performance of Teodósio Bernardes da Fonseca (1749-1809) in Minas Gerais. From an analysis based on the social art history, the aim was to demonstrate horizontally its socio-artistic trajectory and vertically, its productions in the Capela
de Nossa Senhora das Mercês e Perdões of Vila Rica, now Ouro Preto, which it was in 1794. It was noted that these works are part of the same authorial set and will serve as ballast for future attributions to the artist.