The Art of the Court in Portugal (17th and 18th centuries)
1. To have an in-depth knowledge of the questions issued by the art and patronage of the court in Portugal in the barroque period;
2. To understand this art in its relation the main European framework of reference for the 17th and 18th centuries;
3. To assess the significance and meaning of the patronage of the Bragança House before the independence (1640) and its projection in the following period;
4. To consider the relevance of D. Catarina de Bragança as a key study case for two different cultural universes;
5. To understand the questions issued by the court art during the reign of D. João V, when art becomes closely associated to the absolute power of the king;
6. To apply the knowledge acquired and develop the critical capacity while preparing a research paper.
Weekly - 3 letivas + 1 tutorial
Total - Available soon
1) Cortes del barroco. De Bernini y Velasquez a Luca Giordano (dir, F. Checa Cremades). - Madrid: Patrimonio Nacional, 2004
2) Delaforce, A., Art and Patronage in Eighteenth-century Portugal. - Cambridge: Cambridge University Press, 2002
3) A encomenda prodigiosa. da Patriarcal à capela Real de S. João Baptista. - Lisboa: MNAA e Museu de S. Roque, 2013
4) Da Flandres. Os azulejos encomendados por D. Teodósio I, 5º Duque de Bragança. - Lisboa: MNA, 2012
5) Flor, S., Aurum Regina or Queen Gold: retratos de D. Catarina de Bragança entre Portugal e Inglaterra de Seiscentos. - Lisboa: Fundação Casa de Bragança, 2012
6) Joanni V Magnifico. A pintura em Portugal no tempo de D. João V. _ Lisboa: IPPAR, 1994
7) Jordan, A., Retrato de Corte em Portugal. - Lisboa: Quetzal, 1994
8) Pimentel, A.F., Arquitectura e Poder. O Real edifício de Mafra. - Coimbra: IHA, 2012
9) Senos, N., O Paço da Ribeira. 1501-1581. - Lisboa: Editorial Notícias, 2006
Lectures given by the teacher, followed by the presentation and discussion of pre-appointed texts (from the bibliography).
Selected works, or groups of works, are also presented by students followed by seminar discussion. There will also be a final presentation and discussion in class of the research essay related to course contents written by each student (10-12 pags).
The assessment of this course is therefore based on 3 elements:
1) citical review of a text selected from the bibliography (5 pags) presented and discussed in class (25%)
2) Presentation of a selected work, or groups of works (3 pags), followed by seminar discussion (25%)
3) presentation of the written research essay (10-12 pags), followed by discussion (50%)
1. The main courts of the Barroque and the European artistic models of the 17th century. From Spain of the Astúrias to Rome of the Popedom and Luis the XIV´s France.
2. The Bragança´s patronage and the art of the court in Portugal after the recovery of the independence in 1640. Standards of taste, programs and achievements.
3. Catarina de Bragança´s aesthetic culture. Her comissions in London and Lisbon in the late 17th century.
4. Art as a manifestation of power under the absolute monarchies. D. João V´s projects and his undertakings in Paço da Ribeira, Patriarcal and Necessidades.
5. Mafra palace and convent and the image of the pious king in the context of the European catholic Barroque splendour in the 17th century.
6. The Tagus Ópera and the rupture cause by Lisbon´s Great Earthquake unde D. José reign.
Programs where the course is taught: