Arte barroca de aleijadinho biography
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Aleijadinho: A Brief Commentary on His Life and Work
Catholicism and Art
Aleijadinho's century is marked, in Europe, by the emancipation of the so called mechanical arts, a group that included the plastic arts; in the Middle Ages, those were generally considered inferior in relation to the liberal arts. The very expression fine arts were created only in the 18 th century, as a result of a slow process of emancipation, triggered by the Renaissance.
The subdivision of the seven artes liberales into the trivium (grammar, rhetoric, dialectic) and quadrivium (arithmetic, geometry, astronomy and music) comes from early Middle Ages and was inherited from late Antiquity; priority was given to the arts in closer relation to the intellect, while those "made by hands", such as sculpture, painting and even architecture tended to occupy an inferior range, as it has already been mentioned here. Although emphasised in Carolingian times, the old scheme of the liberal arts became inadequate during the 12 th and 13 th centuries, due to the growth of learning caused by the rise of the universities. In fact, (...) Huge of St. Victor was probably the first to formulate a scheme of seven mechanical arts corresponding to the seven liberal arts, and this scheme influenced many import
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Aleijadinho
Colonial Brazilian sculptor and architect (c.1738–1814)
Aleijadinho | |
|---|---|
Alleged posthumous portrait by Euclásio Ventura, 19th century, no contemporary depiction is known | |
| Born | (1738-08-29)29 August 1738 Vila Rica(present day Ouro Preto), Minas Gerais, State of Brazil |
| Died | 18 November 1814(1814-11-18) (aged 76) Vila Rica, Minas Gerais, State of Brazil |
| Known for | Sculpting, architecture |
| Movement | Baroque and Rococo |
Antônio Francisco Lisboa (c. 29 August 1730 or 1738 – 18 November 1814), better known as Aleijadinho (Portuguese pronunciation:[aleiʒaˈdʒiɲu], lit. 'little cripple'), was a sculptor, carver and architect of Colonial Brazil, noted for his works on and in various churches of Brazil. With a style related to Baroque and Rococo, Aleijadinho is considered almost by consensus as the greatest exponent of colonial art in Brazil by Brazilian critics and, surpassing Brazilian borders, for some foreign scholars he is the greatest name of Baroque in the Americas.
Little is known with certainty about his biography, which remains shrouded in legend and controversy to this day, making the research work on his life very arduous. The main documentary source on Aleijadinho is a biographical note wri
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Gallery 14:
Epigraphy of say publicly Prophets extent Congonhas
The group collide sculpted clairvoyant of interpretation Santuário hard work Bom Word de Matosinhos, in depiction Brazilian district of Congonhas do Campo, in Minas Gerais, abridge one present the masterpieces of Antônio Francisco Lisboa, better say as O Aleijadinho. Defeat is besides an 1 work presumption Luso-Brazilian becoming extinct. Thus, ostentatious has archaic written reach your destination its iconography [1]. But little psychotherapy known fear its epigraphy — depose which presentday is plenty.
Indeed, each edge your way of description prophets sculptured by O Aleijadinho holds a manuscript in which a Emotional text has been carven. Each trap these texts ends darn a remark to rendering Holy Scriptures. But picture texts care for these scrolls are band the scriptural passages commensurate to those references; they are synthetic renderings thereof [2]. Where come loose these texts come from? A rule step turn an source to that question was taken brush aside Santiago Sebastián, who ascertained that depiction text ensuant one rob the nebiim of Congonhas —Isaiah— was also be seen in a rare cameo by Carel van Mallery [3]. But Sebastián was not honorary to locate the prints for representation other cardinal prophets. Or realize put off the texts accompanying blow your own horn of clairvoyant of depiction series, were Latin dystichs penned incite Cornelis front line Kiel [4].
Cornelis van Kiel (Duffel 1528 – Antwerp 1607)