Satire, both for fun or as moral censorship, establishes a link between the popular and the erudite universe.
The presence of a polite, well-dressed, and well-educated society is an essential complement to noble architecture.
Working with the proportion relations among all the elements of architecture, the Portuguese architects created a series of geometric pattern tiles in different scales.
To run for the position of master of the Real Fábrica de Louça do Rato, Francisco de Paula e Oliveira valued the importance of the tile painter’s erudition.
The emblems created by the Portuguese diplomat António de Sousa de Macedo (1606-1682) are rooted in a deep humanist tradition and were designed to provide a scholarly discourse to architecture.
Despite still being relatively unknown, Athos Bulcão and his artistic legacy left us a demonstration of immense creative potential, which the art tiles medium was only part of a bigger picture.
Fishing near the Cascata dos Gigantes at Quinta dos Marqueses de Pombal, in Oeiras, was an unusual recreation in the gardens of Portuguese country houses in the eighteenth century.
There is no doubt that the new wealthy bourgeoisie, protected by the Marquis de Pombal, adopted the French etiquette, and that card games, with concerts, dance, and ballroom conversations were an essential part of social gatherings.
The first reported archaeological evidences of Hispano-Moresque wall tiles produced in Portugal are from the Santo António da Charneca kiln, located in the south shore of Tagus River, near the city of Barreiro.
Despite its extensive and impressive production of azulejos, Portugal imported decorative tiles from the Netherlands.
Poetic contests are one of the main events of courtesan life. In the academies, supported by great aristocrats, the poets get together to recite verses, to praise, and to be awarded.
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.
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.
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