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Abstract(s)
A presente dissertação possui como objeto de estudo uma pintura sobre tela, o retrato da benfeitora D. Maria Ermelinda Vianna, pertencente à Santa Casa da Misericórdia do Porto, cuja grande parte do acervo é composto por pinturas desta natureza, fruto da tradição retratística como forma de homenagear os beneméritos da instituição. Tornou-se pertinente a seleção desta obra por levantar questões relacionadas com o entendimento da arte enquanto objeto de identidade social, visto que, em determinado momento da sua trajetória, o retrato de D. Maria Ermelinda foi alvo de um ato de vandalismo, através de golpes mecânicos na zona do rosto. Com o objetivo de abordar esta ação como um elemento integrante da história da pintura, através da reflexão teórica com claro impacto na prática, a intervenção de conservação-restauro procurou compreender a obra na sua dualidade formal e documental, assumindo o vandalismo como registo da pertença e vivência sociocultural da peça. Tendo como ponto de partida a análise crítica das possibilidades metodológicas, foi clara a definição de um tratamento que respeitasse a devolução da estabilidade estrutural e leitura estética da pintura, em consonância com o intuito de integrar o ato de vandalismo. A tomada de decisão, portanto, se pautou no respeito pelos valores artísticos e históricos deste retrato que é representativo do contexto sociocultural vivenciado no Porto do século XIX, garantindo um equilíbrio entre a imagem e todas as marcas que fazem parte da componente material da obra.
The present dissertation has as its object of study a painting on canvas, the portrait of the benefactress D. Maria Ermelinda Vianna, belonging to the Santa Casa da Misericórdia do Porto, whose large part of the collection is constituted of this type of paintings, as result of the portrait tradition as a mode to honor the institution's benefactors. The selection of this work became pertinent as it raises questions related to the understanding of art as an object of social identity, due to, at a certain point in its trajectory, the portrait of D. Maria Ermelinda was the target of an act of vandalism, through mechanical damages directed to the face area. With the aim of approaching this action as an integral element of the history of painting, through theoretical reflection with a clear impact on practice, the conservation-restoration intervention sought to understand the work in its formal and documentary duality, assuming vandalism as a record of the belonging context and sociocultural experience of the work. Taking the critical analysis of methodological possibilities as a starting point, it was clear to define a treatment that respected the return of structural stability and aesthetic reading of the painting, in line with the intention of integrating the act of vandalism. The decision-making, therefore, was based on respect for the artistic and historical values of this portrait, which is representative of the sociocultural context experienced in 19th century Porto, ensuring a balance between the image and all the marks that are part of the material component of the work.
The present dissertation has as its object of study a painting on canvas, the portrait of the benefactress D. Maria Ermelinda Vianna, belonging to the Santa Casa da Misericórdia do Porto, whose large part of the collection is constituted of this type of paintings, as result of the portrait tradition as a mode to honor the institution's benefactors. The selection of this work became pertinent as it raises questions related to the understanding of art as an object of social identity, due to, at a certain point in its trajectory, the portrait of D. Maria Ermelinda was the target of an act of vandalism, through mechanical damages directed to the face area. With the aim of approaching this action as an integral element of the history of painting, through theoretical reflection with a clear impact on practice, the conservation-restoration intervention sought to understand the work in its formal and documentary duality, assuming vandalism as a record of the belonging context and sociocultural experience of the work. Taking the critical analysis of methodological possibilities as a starting point, it was clear to define a treatment that respected the return of structural stability and aesthetic reading of the painting, in line with the intention of integrating the act of vandalism. The decision-making, therefore, was based on respect for the artistic and historical values of this portrait, which is representative of the sociocultural context experienced in 19th century Porto, ensuring a balance between the image and all the marks that are part of the material component of the work.
Description
Keywords
Pintura de retrato Cidade do Porto Século XIX Ato de vandalismo Conservação-restauro Método diferenciado Portrait painting City of Porto 19th century Act of vandalism Conservation-restoration Different methods