Los conjuntos de patrones de azulejos geométricos a menudo recibían una decoración dorada, aplicada en las paredes, sin relación con el proceso de fabricación de la cerámica.
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El rigor geométrico con ornamentos dorados
Category: Art
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A Signature of the Painter Gabriel del Barco
The name is abbreviated with the initials “GB. B” followed by the letter “F.”, which stands for Fecit, or Fez (the author used both Latin and Portuguese), thereby indicating the authorship and the year 1700.
En 1675, hubo una transformación completa del espacio interior del Aula Magna de la Universidad jesuita de Évora.
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La chinería de un rico armador de Lisboa
Los azulejos hechos para la mansión de António Pereira son uno de los mejores ejemplos de la forma peculiar en que las imágenes exóticas evolucionaran para adaptarse al gusto de sus mecenas.
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La originalidad del pintor de azulejos
Es la cuidada selección de modelos, la perfecta integración con el conjunto decorativo y la construcción de un espacio pictórico que definen a António de Oliveira Bernardes como el gran intérprete de la pintura de azulejos en el siglo XVIII.
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El error del pintor de azulejos
Es con cierta sorpresa que podemos ver algunos errores en los paneles de azulejos en las aulas del Colégio do Espírito Santo, en Évora, y en los azulejos del Colegio de Santo Antão-o-Novo, en Lisboa.
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El Gran Taller de Lisboa
El Gran Taller de Lisboa fue una sociedad creada por el maestro ladrillador Bartolomeu Antunes (1688-1753), cuyo principal objetivo era ganar todas las obras de azulejo de las villas reales y palacios.
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Las cuatro edades del amor
Con cierta frecuencia, la pintura de género parece trascender el campo de las artes visuales para reflejar los cambios en los comportamientos sociales.
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The Anonymous Tile Painter
Although history has kept the name of remarkable tile painters, usually the activity was carried out in anonymity.
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The Ingenious Tile Painter
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.
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The Great Lisbon Workshop
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.
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The Madragoa Pottery
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.
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The Four Ages of Love
With some frequency, gender painting seems to transcend the field of visual arts to reflect changes in social behaviors.
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The Tile Painter’s Error
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.
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The Laughter of the Monkey World
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.
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A Black Slave Woman in the Kitchen
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.
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Architects and Tiles
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.
Portuguese Tiles 