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A marcenaria portuguesa da segunda metade de Setecentos foi influenciada pela chegada da exportação
inglesa de mobiliário, que decorreu ao longo de todo o século XVIII.
As tipologias inglesas, desenhadas por riscadores com novas ideias, foram executadas numa escala
menos ostentatória que as de utilização na corte e nas residências da nobreza, destinando-se a um
novo modo de vida em que a sociabilidade era protagonista. O grande comércio dos negócios intercontinentais
gerava movimento relevante de pessoas e de circulação de capitais, e os comerciantes
ingleses e portugueses – nomeadamente na cidade do Porto –, perfilharam novas modas decorativas.
A nova sensibilidade requeria peças para mobilar as residências destas classes emergentes e dos grupos
intermédios que viviam, em maioria, nas cidades portuárias.
As oficinas de marcenaria foram contagiadas, por outro lado, por ideias gravadas – ou mesmo
desenhos –, que chegavam de múltiplas latitudes europeias que tiveram de adaptar à abundância das
madeiras indígenas e às que chegavam das colónias, entre elas o Brasil. Traduziram, então, as múltiplas
ideias recebidas com uma técnica desenvolta que o passado de ensamblamento concedia aos oficiais,
o que originou uma produção idiossincrática com madeira maciça, promovendo o entalhamento e
os embutidos.
As peças do Rococó e o do Neoclassicismo portuguesas foram, assim, concebidas não só pela
integração de elementos estilísticos reconhecíveis na produção internacional – dando origem a peças
de mobiliário identificadas com essas correntes estéticas –, mas também pela inclusão de factores
regionais, de tradição vivencial local, o que permitiu que brotasse uma outra via da produção de
mobiliário – a que adaptou, de modo próprio, elementos estéticos forasteiros ao modo trabalhar local.
Portuguese cabinet-making was influenced by the eighteenth-century English furniture export, as Portugal was one of the destinations of the so called “South Mediterranean Trade”. The English typologies were conceived by newly born designers in a less ostentatious manner than those of the residences of the nobility, and were meant to provide a new way of life in which sociability had a leading role. That production supposed to furnish the homes of the emerging classes living mostly in the port cities. The intercontinental business generated significant movement of people and of money, and the British and Portuguese traders - especially in Porto – asked for those new decorative fashions. The joiner’s workshops were contaminated, on the other hand, by other dynamic features – for instance, the foreign drawings that were carried by tradesmen from multiple European latitudes. Locally, there was abundance of woods, some indigenous and others arriving from the colonies, namely Brasil. Portuguese cabinet-makers translated, in an agile way, those numerous ideas, which led to an idiosyncratic production with carving or inlaid wood. Portuguese Rococo and Neoclassicism incorporated, in consequence, the recognizable stylistic elements of the international production, but also included regional factors, which enabled the sprout of idiosyncratic furniture production that adapted, in a regional feeling, foreign aesthetic elements.
Portuguese cabinet-making was influenced by the eighteenth-century English furniture export, as Portugal was one of the destinations of the so called “South Mediterranean Trade”. The English typologies were conceived by newly born designers in a less ostentatious manner than those of the residences of the nobility, and were meant to provide a new way of life in which sociability had a leading role. That production supposed to furnish the homes of the emerging classes living mostly in the port cities. The intercontinental business generated significant movement of people and of money, and the British and Portuguese traders - especially in Porto – asked for those new decorative fashions. The joiner’s workshops were contaminated, on the other hand, by other dynamic features – for instance, the foreign drawings that were carried by tradesmen from multiple European latitudes. Locally, there was abundance of woods, some indigenous and others arriving from the colonies, namely Brasil. Portuguese cabinet-makers translated, in an agile way, those numerous ideas, which led to an idiosyncratic production with carving or inlaid wood. Portuguese Rococo and Neoclassicism incorporated, in consequence, the recognizable stylistic elements of the international production, but also included regional factors, which enabled the sprout of idiosyncratic furniture production that adapted, in a regional feeling, foreign aesthetic elements.
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Mobiliário civil Marcenaria Exportação inglesa Rococó Neoclassicismo Vernacular furniture Cabinet-making British furniture exportation Rococo Neoclassicism