Portugal developed unprecedented
versions of Baroque style in the world of art – in the fields of azulejo tiles
and carved gilded wood. Azulejo tiles – an extremely rich iconographic culture that
runs alongside the tradition of great canvas painting – focused primarily on
religious themes: the history of the lives of the Saints and cy cles dedicated
to the Virgin Mary and the Life of Christ. The main profane themes focused on
mythology and fables, in particular the fables of La Fontaine, explored in
azulejo tiles such as those in the Church of S. Vicente de Fora, and also
linked to programmes imposed by commissioners in the domestic space of their gardens
and palaces.
Ornamentation and compositional formats,
introduction of “gallant scenes”, “hunting scenes”, more or less stereotypical
landscapes, sometimes exotic, originated autonomous motifs with countless
variations such as the so-called “invitation figures” (figures de convite) -
life-sized representations of people adopting gestures of etiquette, as they
receive visitors, located at room entrances or staircase landings. This
deceptive naturalism and apparent ingenuity, established azulejo work as one of
the most characteristic Portuguese styles.
The reign of D. João V was marked by
implementation of a utopia in the world of art, whose initial seeds had been
sown in 17th century politics. This was the only explanation behind major
ventures such as the Royal Convent of Mafra, one of the largest palatial and
monastic buildings in Europe. The characteristic elements of Portuguese Baroque
- carved gilded wood and ornamentation of churches with azulejo tiles –
directly descended from this desire to create a “golden age”. It also
derived from a very real access to gold, imported from Brazil.
During the 17th and 18th centuries,
carved gilded wood transformed church interiors, which often had unique
layouts, thus conferring them with luminosity and spatial energy. A classic example
is the Library of the University of Coimbra, whose interior was transformed through
the use of carved gilded wood. A wide array of altar-pieces were installed in
all styles of Portuguese churches throughout the 17th century. Derived from
mannerist altars and altar-pieces - stable, firm and of classic taste - the
Portuguese style altar-piece ended up by replacing slower, heavier and
expensive models, executed in stone by Italian Baroque sculptors.
However, the Portuguese style should not be viewed as a poorer or
imitative version of its predecessors. On the contrary, it included original
motifs and was based on unique compositions. The splendour of the gilding, the
greater or lesser depths of the hand carved ornamental motifs, constitute the
backdrop for the key architectural elements: the arches and door-jambs – thick,
repeated, staggered in depth; tribunes constituted by several steps, raising up
to great height in a curious play of different scales and monumental display;
the throne, upon which the statue of the patron saint was placed; Solomonic
columns, decorated with vines and small angels.
In the same manner, the Enlightenment
spirit fostered by the Marquis of Pombal during the reign of D. José (1750-1777),
formed part of a broader Baroque strategy, especially if one considers his
urban-planning proposals.
The key impulse behind this avant-garde movement was the
unprecedented catastrophe, whose impact was felt throughout the world – the
brutal 1755 earthquake that devastated Lisbon. Some commentators viewed the Earthquake
as a sign of the end of the world. For others, however, it was an opportunity
to secularise a society that was atavistically entrenched in profound
religiosity.
Discover this great world heritage and see it in real
life in Portugal!
by visitportugal
