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Advisor(s)
Abstract(s)
O mobiliário pintado constituiu uma das manifestações mais significativas na
produção e desenvolvimento das Artes Decorativas em Portugal, motivo pelo qual integrou
a grande maioria dos interiores históricos, e cujo conceito de abrangência ornamental o
aproxima, sob idênticos parâmetros, das tipologias acessórias arquitetónicas. A presente
dissertação pretende aprofundar o conhecimento acerca da produção de mobiliário pintado
do século XVIII, considerando o período do Barroco, do Rococó e do Neoclássico
portugueses, refletindo as especificidades da sua época de produção. Os relatos históricos e
a quantidade de exemplares que podemos encontrar na atualidade em Portugal demonstram
que o revestimento decorativo do móvel português se mostrou multifacetado e
diversificado, e o seu papel ultrapassou a mera função de objeto útil, para a qual havia sido
construído, embora se tenha assumido unidirecional quanto à abrangência civil e religiosa,
adotado como recurso decorativo frequente em ambos os espaços.
A inexistência de estudos especializados afigurou-se como uma motivação adicional
para as investigações e o trabalho que agora se apresenta resulta do estudo transdisciplinar
da produção do mobiliário policromado português, das dimensões histórica, artística e
social, das influências externas e dos principais fluxos geográficos. Após o ponto de
partida historiográfico, pouco abundante, a pesquisa debruçou-se sobre a observação dos
principais tipos de revestimento pictórico, permitiu a sistematização tipológica decorativa,
e a reflexão acerca da autoria e das particularidades dos centros de produção. A
metodologia processual assentou na estreita colaboração entre o estudo teórico e prático da
amostra de estudo, consolidando a etapa anterior numa análise tecnológica dos materiais,
das técnicas utilizadas na sua produção, tendo em conta os principais tratados e fontes de
inspiração coevas, e dos estados de conservação atuais. A avaliação dos processos de
degradação resultou do cruzamento da observação e análise dos objetos, da sua
composição material, das técnicas de execução e da sua interação com o meio envolvente.
Finalizou-se o trabalho com vários estudos de caso, constituídos por objetos pertencentes a
contextos diversos, cujas especificidades ditaram o estado de conservação e, após
equacionadas as necessidades individuais, resultaram em diferentes tipos de intervenção prática, consolidando-se o estudo técnico e material em dois deles através da realização de
exames laboratoriais.
The painted furniture is one of the most significant manifestations in the production and development of the Decorative Arts in Portugal, and therefore it is present in most of the historical interiors, as its ornamental comprehensiveness brings it closer to accessory architectural typologies, due to identical characteristics. This dissertation intends to deepen the knowledge about the production of painted furniture in the 18th century, taking into account the baroque, rococo and neo-classicism periods in Portugal, reflecting the specific characteristics of its production period. The historical accounts and the amount of pieces of art we can find nowadays in Portugal, show that the decorative coating of the Portuguese furniture was diverse and multifaceted. It became more than just a useful object, exceeding its primary purpose, although it was unidirectional as far as its civil and religious comprehensiveness is concerned, being often used as decoration in both of these spaces. The lack of specialized studies became an additional motivation for the investigation and this work is the result of the trans-disciplinary study of the production of Portuguese polychromatic furniture, the historical, artistic and social dimensions, the external influence and the major geographical flows. The research had a scarce historiographical starting point and then focused on the observation of the major types of pictorial coating and it allowed a decorative and typological systematization and a reflection on the authorship and peculiarities of the production centres. The procedural methodology was based on the strict collaboration between the theoretical and practical study of the study sample, strengthening the previous step in a technological analysis of the materials, the technics used in its production, considering the main treatises and contemporary sources of inspiration, and the current conservation conditions. The evaluation of the deterioration processes resulted in the intersection of the observation and analysis of the objects, its material composition, production techniques and its interaction with the surrounding environment. The work was concluded with several case studies, whose specificities dictated the conservation status and, after considering the individual needs, resulted in different types of practical intervention, consolidating the technical and material study in two of them by performing laboratorial tests.
The painted furniture is one of the most significant manifestations in the production and development of the Decorative Arts in Portugal, and therefore it is present in most of the historical interiors, as its ornamental comprehensiveness brings it closer to accessory architectural typologies, due to identical characteristics. This dissertation intends to deepen the knowledge about the production of painted furniture in the 18th century, taking into account the baroque, rococo and neo-classicism periods in Portugal, reflecting the specific characteristics of its production period. The historical accounts and the amount of pieces of art we can find nowadays in Portugal, show that the decorative coating of the Portuguese furniture was diverse and multifaceted. It became more than just a useful object, exceeding its primary purpose, although it was unidirectional as far as its civil and religious comprehensiveness is concerned, being often used as decoration in both of these spaces. The lack of specialized studies became an additional motivation for the investigation and this work is the result of the trans-disciplinary study of the production of Portuguese polychromatic furniture, the historical, artistic and social dimensions, the external influence and the major geographical flows. The research had a scarce historiographical starting point and then focused on the observation of the major types of pictorial coating and it allowed a decorative and typological systematization and a reflection on the authorship and peculiarities of the production centres. The procedural methodology was based on the strict collaboration between the theoretical and practical study of the study sample, strengthening the previous step in a technological analysis of the materials, the technics used in its production, considering the main treatises and contemporary sources of inspiration, and the current conservation conditions. The evaluation of the deterioration processes resulted in the intersection of the observation and analysis of the objects, its material composition, production techniques and its interaction with the surrounding environment. The work was concluded with several case studies, whose specificities dictated the conservation status and, after considering the individual needs, resulted in different types of practical intervention, consolidating the technical and material study in two of them by performing laboratorial tests.
Description
Keywords
Mobiliário pintado Tipologias formais Revestimentos decorativos Tipologias decorativas Materiais Técnicas pictóricas Conservação e restauro Século XVIII Painted furniture Formal typologies Decorative coatings Decorative typologies Materials Painting techniques Conservation and restoration 18th century