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Abstract(s)
Entre as muitas obras que enriquecem o património artístico português, no âmbito dos objectivos e particularidades da dissertação de mestrado, serve o presente trabalho para uma nova visão e interpretação da pintura nacional, tanto ao nível histórico, estético -artístico, iconográfico como patológico.
A pintura de São Jerónimo Penitente encontra-se do lado do Evangelho, na zona mais ao fundo da Igreja da Venerável Ordem de São Francisco. É atribuída a “A. I. Perª”, do ano de 1820. É uma pintura adornada por uma moldura muito simples tendo em consideração a boa qualidade da pintura.
Durante a elaboração deste trabalho ocorreram algumas dificuldades, que em parte, foram ultrapassadas, sendo inicialmente a mais persistente ao nível interpretativo da obra, onde nos deparámos com um possível anonimato do autor que posteriormente viríamos a descobrir que o mesmo estava assinado e datado, contudo, sentiu-se a falta de estudos anteriores e de documentação auxiliar.
O objectivo principal deste trabalho, para além da recolha exaustiva de documentação e bibliografia, foi também desenvolver uma nova abordagem ao nível histórico-artístico, plástico, bem como possíveis técnicas e materiais utilizados, incidindo também ao nível iconográfico e principalmente conservativo (desde a análise patológica e suas causas à posterior intervenção de conservação e restauro).
Este trabalho aposta numa metodologia que passou pelo acompanhamento in loco da obra até à intervenção e colocação da mesma no local tentando deste modo reunir o máximo de informação possível e fidedigna para todos os passos que se sucederam. Em suma, foram estes alguns dos fortes motivos de decisão para a elaboração deste trabalho, visando ampliar cada vez mais os nossos conhecimentos na área de Pintura sobre Tela.
Portuguese artistic heritage consists in several pieces of art, within the framework of the objectives and characteristics of the dissertation, the present thesis brings a new vision and interpretation of the national painting, both at the historical level, aesthetic -artistic, iconographic and pathological. The penitent Saint Jerome painting is on the side of the Gospel, in the area over the background of the Church of the Venerable Order of St. Francis, wich was painted by A. I. Perª, in the year 1820. It is adorned by a simple frame the quality of the painting. During the preparation of this thesis some difficulties, considering appeared which were partially resolved the most constant difficultic layed at the interpretation of the art work. Where we encounter a possible anonymity of the author later discovered to be signed and dated. However the lack of previous studies and documentation, were felt. The main objective of this thesis, beyond the comprehensive collection of documentation and literature, was developing a new approach to art-historical level, plastic and possible techniques and materials used. Also focusing on the iconographic level and most importantly at the conservative level (from the pathological analysis and their causes, to the subsequent intervention of conservation and restoration). This thesis is based in a methodology that consisted in a “in loco” piece, intervention and placing it at the church, trying this way to gather as much as possible reliable information to fundament all the steps that followed. In conclusion these were the major decision factors for this thesis, aimed to steadily expand our knowledge in the painting on screen area.
Portuguese artistic heritage consists in several pieces of art, within the framework of the objectives and characteristics of the dissertation, the present thesis brings a new vision and interpretation of the national painting, both at the historical level, aesthetic -artistic, iconographic and pathological. The penitent Saint Jerome painting is on the side of the Gospel, in the area over the background of the Church of the Venerable Order of St. Francis, wich was painted by A. I. Perª, in the year 1820. It is adorned by a simple frame the quality of the painting. During the preparation of this thesis some difficulties, considering appeared which were partially resolved the most constant difficultic layed at the interpretation of the art work. Where we encounter a possible anonymity of the author later discovered to be signed and dated. However the lack of previous studies and documentation, were felt. The main objective of this thesis, beyond the comprehensive collection of documentation and literature, was developing a new approach to art-historical level, plastic and possible techniques and materials used. Also focusing on the iconographic level and most importantly at the conservative level (from the pathological analysis and their causes, to the subsequent intervention of conservation and restoration). This thesis is based in a methodology that consisted in a “in loco” piece, intervention and placing it at the church, trying this way to gather as much as possible reliable information to fundament all the steps that followed. In conclusion these were the major decision factors for this thesis, aimed to steadily expand our knowledge in the painting on screen area.