Con cierta frecuencia, la pintura de género parece trascender el campo de las artes visuales para reflejar los cambios en los comportamientos sociales.
Although history has kept the name of remarkable tile painters, usually the activity was carried out in anonymity.
It is the careful selection of models, the perfect integration with the decorative ensemble, and the construction of an involving pictorial space that define António de Oliveira Bernardes as the great interpreter of tile painting in the 18th-century.
The Great Lisbon Workshop was a society of painters and potteries created by the activity of the master tiler Bartolomeu Antunes (1688-1753), whose main objective was to supply all the tile works on the royal villas and palaces.
The Madragoa Pottery belonged to a large group of small manufacturing units that formed the industrial ceramics nucleus of the Lisbon parishes of Santos-o-Velho and Santa Catarina.
With some frequency, gender painting seems to transcend the field of visual arts to reflect changes in social behaviors.
It is with some surprise that we can see some mistakes in the Latin phrases on the tile panels in the rooms of the Espírito Santo College, in Évora, and on the mathematical theorems in the tiles of the Santo Antão-o-Novo College, in Lisbon.
On the benches that surround the tank of one of the gardens of Quinta dos Marqueses de Fronteira, there is one tile panel with a representation of singeries. It was a satirical image and a invitation to spend free hours, without social constraints, in the garden.
The representation of a black slave woman tending a fish in the kitchen of the Sousa Mexia Palace, currently the headquarters of the Lisbon Museum, is an essential complement to the furniture and indicates the form of social occupation of this space.
The taste and fashion of the chinoiserie were the direct result of Europe’s interactions with the East, within the framework of building a global trade network.
The tiles made for the stairways of 18th-century palaces in Lisbon are one of the most evident examples of the close relationship between the design of architecture and the ornamentation that ennobles these spaces. They are also evidence that the hand of architects often guided the renovation of tiles.
The tiles made to the wealthy merchant António Pereira’s house, currently applied over the benches and flowerbeds flanking the main entrance of the Sobralinho Palace, in Vila Franca de Xira, are one of the best examples of the peculiar way in which images of exotic countries are shaped to adjust to the taste and objectives of their patrons.
The decorative program of the Saint James Church was completed between the years 1699 and 1700, already in the final part of the archbishopric of Friar Luís da Silva Teles. The iconographic program articulates the tile panels with the frescoes on the ceiling, in an exaltation of the Sacrament of the Eucharist, a fundamental theme for the Catholic Church after the Council of Trent.
In Evora, a small room in the parish church of Saint Mammes has a decorative ensemble that combines the tiles on the walls with the frescoes on the ceilings in a coherent iconographic program in praise of the Blessed Sacrament.
The renovation of the inner space of the Igreja da Misericórdia in Évora is one of the best examples of the importance of tiles for combining the discourse of images with the decorative program, in a campaign carried out by the painter António de Oliveira Bernardes, in 1716.
Green and white or blue and white tile sets often received a gilded decoration, applied on the walls, with no relation to the ceramic manufacturing process. These relatively fragile golden ornaments have faded over the years, but traces remain on the Chapter House of Beja.
In 1675, there was a complete transformation of the inner space of the University of Évora Great Hall.