Sequeira e Wellington

Candelabrum

'Portuguese Service'

designed by Domingos António de Sequeira

made in Lisbon

1813-1816

    "This silver service was intended to glorify the Triple Alliance between Britain, Spain and Portugal and to celebrate their joint Victories against the French between 1808 and 1814. To the Portuguese, the Peninsular War was a war of Independence and this was their great gift to the man who had ensured its survival, the first Duke of Wellington.

    The service was designed and executed under the control of Domingos Antonio de Sequeira (1768 - 1837), court painter to Dona Maria I. As far as is known, Sequeira had never designed anything in silver before receiving the commission for the service and designed only two pieces of silver subsequently. Sequeira remained loyal to his constitutional principles and after Dom João VI abandoned the Constitution in 1823 he left Portugal and eventually settled in Rome where he died. His work is at its most creative and original during the Peninsular War." Daqui

Têxtil indiano

 

date: mid- to late 18th century

indian, probably Gujarat

Daqui

Setúbal

Landscape near Setúbal

Unknown

1838 - 1839

Daqui

Arcanjos

arcanjos

"Designação pós-escriturísti­ca de espíritos celestes superiores aos *an­jos. A tra­dição bíblica (Tb 12.15) fala em sete (arc)anjos que estão diante do altar de Deus e refere a intervenção de três: Mi­guel (= “Quem como Deus?”), o de­fensor dos direitos de Deus perante a revolta dos anjos maus; Gabriel (= “Ho­mem de Deus” ou “Fortaleza de Deus”), o anjo da Anun­cia­ção (a Za­ca­rias, Lc 1,11ss, a Maria, Lc 1,26ss e a José, Mc 1,20ss), que a Igreja venera como pa­droei­ro das telecomunica­ções (Pio XII, 1951); e Rafael (= “Me­di­ci­na de Deus”), o anjo que protege da doença e dos perigos (cf. Tb)." Daqui

The Archangel Michael

19thC(late)-20thC(early)

Daqui

Emissário do Congo

Don Miguel de Castro. Emissary of Kongo

Jaspar Beckx

ca. 1643

    "According to inscriptions on the back of the three paintings they depict the Emissary of Congo, Don Miguel de Castro and his servants, Pedro Sunda and Diego Bemba.

All three are dressed in accordance with Portuguese fashion, and the servants are showing gifts they have brought or received.

In 1643 or 1644 they arrived as part of a delegation sent by the ruler of Sonho, a province of Congo, via Brazil to The Netherlands." Daqui

Playa

¡Triste herencia!

Joaquín Sorolla Bastida

1899

Daqui

Manuel II

King Manuel II of Portugal ('Men of the Day. No. 1198. "Europe's Youngest Monarch."')
Frederick Drummond Niblett ('Nibs')

published in Vanity Fair 10 November 1909

Daqui

Suicida

Formerly attributed to: Thomas Bewick

Attributed to: Robert Johnson

1788-1805

Daqui

Carro de bois em Portugal

A portuguese waggon

Baillie, Marianne, Costumes in Portugal: 1821-1823. Drawn from nature, 24 desenhos, alguns aguarelados. Daqui

O boi

Le Boeuf écorché

Rembrandt

1655

Daqui

Inês de Castro

Daqui

Daqui

Parir coelhos

"Mary Tofts of Godelman the pretended Rabbit Breeder"

John Faber Jr fecit

John Laguerre pinx

ca. 1726

"Mary Toft allegedly gives birth to sixteen rabbits in Godalming Surrey and becomes the subject of considerable controversy, involving the King's own physician Nathaniel St Andre. The story is later revealed to be a hoax." Daqui

Lisboas

Vista parcial desde San Pedro de Alcántara

António Passaporte

entre 1927 e 1936

Daqui

Sexo

Production date: 50 BC - AD 50

Found in March 1773 in the Villa Casali

Daqui

Óbidos

Óbidos

Eugène Gallois

[31 dessins à la plume et 5 phot. par Eugène Gallois de sites et monuments de France, d'Espagne, de Portugal, de Russie, s.d. (vers 1900)]

ca. 1900

Daqui 

Homem com cabeça de elefante

Gaspar Schott

Physica curiosa, sive mirabilia naturae et artis libris XII

1662

Daqui

Máquinas e utensílios de guerra

Machines et ustensils de guerre
Bodleian Libraries, University of Oxford
Place of Origin: Portugal?
Language: French, Middle (ca. 1400-1600)
Oxford, Bodleian Library MS. Douce b. 2

Daqui

Cannon mounted on four-wheeled carriage

fol. 044r

White horse carrying two small cannons

fol. 074r

Banner, hung from a bugle

fol. 124r

Banderol, the word "Portugale" in cartouche.

fol. 125r

Two helmets with plumes and hinged visors raised

fol. 127r

Complete suit of plate armour

fol. 128r

Pintores de Skagen

"The Skagen painters

    At the end of the 19th century, Skagen became the centre of one of the most famous artists’ colonies in Europe, known as the Skagen painters. In the beginning it was generally the very young, less established artists who journeyed to the tip of Jutland peninsula in Denmark. The first artists who came to the town at the beginning of the 1870s had met at the Royal Academy of Art in Copenhagen and recommended the town to one another. In Skagen, there was an abundance of plein air motifs, the town had a local population who were usually willing to model for a modest fee, and social and professional fellowship was also a major factor for many artists.

    The artists’ colony in Skagen was part of an international phenomenon. Artists came to Skagen from other countries and there were artists’ colonies in several other places in Europe, Russia, North America and Australia at the time. The artists’ colony in Skagen was also visited by authors, composers, musicians, singers, craftspeople, and actors, several of whom were among the most prominent cultural personalities of the era in Denmark and Scandinavia." Daqui

Artists’ luncheon at Brøndum’s Hotel

P. S. Krøyer

1883

"The painting is a central work in Brøndum’s dining room today, and is considered to be one of P.S. Krøyer’s masterpieces. In the picture are some of the Norwegian and Swedish artists that were a part of the colony in 1883, with Michael Ancher in the background, and hotel proprietor, Degn Brøndum sitting at the table but without Krøyer himself in the picture. Krøyer has depicted the artists in one of the situations that they have described in their own anecdotes: Conversations around the table. There were no official rules for the members of the artist colony and artists were not gathered because they were a part of an artist association or group of artists, but because they chose to be a part of an informal community. The picture was probably painted in the room that was lined in 1884 with stained wood panels and has subsequently become known as Brøndum’s dining room." Daqui

Adrien Dauzats e o mosteiro dos Jerónimos

Intérieur de l'église de Bélem à Lisbonne

Adrien Dauzats

1838

Daqui

Intérieur du monastère de Belem à Lisbonne

Adrien Dauzats

1864

Daqui

Niños que Viven

Fenomenos extraordinarios de la naturaleza

Niños que Viven

1787

"Este juego particular se ve en una Niña negra y blanca ó color Pio, y un Niño Mulato, ambos de la edad de 6 años nacidos / en la California que el dia 3 de Marzo de 1787 fueron presentados á la Familia Rl. de Francia por el Sr. CURTIUS y despues espuestos al Publico. / Esta estampa es sacada de un Dibujo del Natural que ha remitido desde paris un Español que ha visto ambos Niños" Daqui

O relógio, Rafael Bordalo Pinheiro e Os Lusíadas

Moldura para relógio “Gomes”
Rafael Bordalo Pinheiro
1895

    "Extraordinária pela sua escala e função, esta peça servia de caixa ao relógio da loja do editor Manuel Gomes, situada na Rua Garrett, em Lisboa. Foi encomendada ao artista, que se inspirou nas referências marinhas d’Os Lusíadas, obra quinhentista do poeta Luís de Camões. As ondas de barro vidrado são habitadas por tritões e sereia, seres da mitologia clássica, aos quais a fantasia do artista acrescenta um par de lagostas e um golfinho. Sobrevoando a cena, uma águia transporta uma figura feminina que empunhava um archote aceso e uma fita ondulante, com um fragmento do verso: «Espalharei por toda a parte…» – infelizmente desaparecidos. No vão circular encontrava-se o mostrador do relógio. O sabor renascentista da iconografia e a composição épica revelam o esforço nacionalista de Rafael Bordalo. Salienta-se a qualidade da modelação e o colorido, sobretudo, dos festões de algas e conchas. Peça doada ao Museu pelo editor, em 1962." Daqui

Morte

Servitus Carnis (morte)

Egbert van Panderen

1610-1620

Daqui

Salazar - doutor pela Universidade de Oxford

"sábado, 19 de Abril de 1941 - Doutoramento "honoris causa" de Salazar pela Universidade de Oxford
Oliveira Salazar recebe na Universidade de Coimbra as insígnias de doutor "honoris causa" pela Universidade de Oxford, e discursa sobre os "valores espirituais no governo e na vida dos povos"." Daqui

"Cerimónia do doutoramento "Honoris Causa" do doutor Oliveira Salazar pela Universidade de Oxford, na Universidade de Coimbra"

Daqui

"Cerimónia do doutoramento "Honoris Causa" do doutor Oliveira Salazar pela Universidade de Oxford, na Universidade de Coimbra"

Daqui

Daqui

"Premier Dr Salazar gets honorary Oxford University degree at Coimbra University"

Daqui

Rabino a ler

[Rabino leyendo]

Mariano Fortuny y Marsal

entre 1860 y 1872

Daqui

José Carlos Rates, o PCP e a União Nacional

                               

Daqui

José Carlos Rates, fundador do Partido Comunista Português (PCP):

expulso do PCP

adere à União Nacional

Mártires de Turón

Santos Mártires de Turón

    "Nombre con el que se conoce a los ocho Hermanos de La Salle y un Padre Pasionista que fueron fusilados en 1934 durante la conocida como Revolución de Octubre.  Considerados mártires por la Iglesia Católica, fueron beatificados en abril de 1990 y canonizados en 1999. Su festividad en la iglesia universal se celebre cada 9 de octubre. Parte de sus reliquias se veneran en la iglesia de San Martín de Turón. (Carlos Vega)" Daqui

Camões e Jau

Camões na gruta de Macau

Francisco Augusto Metrass

1853

Museu Nacional de Arte Contemporânea do Chiado

    "Pintura de História. No lugar romântico e simbólico da gruta de Macau, onde Luís de Camões terá concebido "Os Lusíadas", lugar mítico, sugerido pelas massas rochosas que enquadram o poeta e o seu escravo Jau, vê-se a figura de Camões sentado, vestido de preto, de barba e cabelo arruivados, segurando melancolicamente a cabeça com o punho esquerdo fechado, cujo cotovelo assenta num rochedo a seu lado, por momentos interrompendo a escrita numas folhas que segura no joelho direito, com a mão direita em cima, segurando a pena. Camões olha para a esquerda, com um olhar sombrio mas intenso, num rosto iluminado, provável auto-retrato de Metrass. A seu lado, sentado no chão de pernas cruzadas, encostado a uma rocha, vê-se o escravo Jau, vestido com uma camisa branca listada, baixando o olhar. Aos pés de Camões, espalhados no chão, vêem-se uma espada embainhada, um livro aberto, um tinteiro e algumas folhas soltas com a inscrição "LUSIADAS"." Daqui

Buraco de minhoca

    "Wormhole, solution of the field equations in German-born physicist Albert Einstein’s theory of general relativity that resembles a tunnel between two black holes or other points in space-time. Such a tunnel would provide a shortcut between its end points. In analogy, consider an ant walking across a flat sheet of paper from point A to point B. If the paper is curved through the third dimension so that A and B overlap, the ant can step directly from one point to the other, thus avoiding a long trek.
    The possibility of short-circuiting the enormous distances between stars makes wormholes attractive for space travel. Because the tunnel links moments in time as well as locations in space, it also has been argued that a wormhole would allow travel into the past. However, wormholes are intrinsically unstable. While exotic stabilization schemes have been proposed, there is as yet no evidence that these can work or indeed that wormholes exist." Daqui

Archetypa studiaque (pormenor)
Joris Hoefnagel
1592
Daqui

Palácio das Cortes em Lisboa

Augusto Xavier Moreira

1865-1868

Daqui

Histeria

Arch of Hysteria

Louise Bourgeois

1993

    "Jerry Gorovoy: I’m Jerry Gorovoy. This hanging bronze figure is called the Arch of Hysteria.

Louise had actually been in psychoanalysis from 1951 all the way up until the 1980s. At the beginning of psychoanalysis with Freud there was a lot of interest in the hysterical woman who would have these contortions where the body would arch up in the air. Men did it too. But Louise always thought the psychoanalysts liked to see the women.

(...)

The hanging arch figure is actually a cast of my body. Louise had me lie down on a curved mound to get this shape, and then the body was in a plaster mold, which she then cut up to make this curve.

To Louise the state of hanging was this idea of fragility, because it meant that the body could turn, it could pivot, it could spin, so it wasn't a stable kind of thing. Louise wanted this figure to have a high polish so that the viewer’s face is caught inside the body of this contorted figure. So it brings the viewer into the picture." Daqui

O chalé de João Lúcio

    "O Chalé João Lúcio é uma casa rotativa, de planta circular, desprovida de traseiras, logo, também, de uma fachada principal. A quadratura do círculo, presente em vários sistemas de pensamento, confere a esta casa, entre outros elementos, uma forte carga simbólica. Os acessos realizam-se a partir de quatro escadas distribuídas pelos pontos cardeais: a escadaria a norte tem a forma de peixe, a sul de guitarra, a nascente de violino e a poente de serpente. Assim, o peixe representa a água, a guitarra o fogo, o violino o ar e a serpente a terra." Daqui

Cocanha

    "Cockaigne, also spelled Cockayne, imaginary land of extreme luxury and ease where physical comforts and pleasures are always immediately at hand.

References to Cockaigne are especially prominent in medieval European lore. These accounts describe rivers of wine, houses built of cake and barley sugar, streets paved with pastry, and shops that gratuitously give goods to everyone. Roast geese wander about inviting people to eat them, and buttered larks fall from the skies like manna." Daqui

Das Schlaraffenland

Pieter Bruegel, o Velho

1567

Daqui

Traje dos portugueses e das portuguesas

Vecellio, Cesare, Habiti antichi (...), Veneza, Combi & LaNoù, 1664, pp. 226-227.

Ler para derrotar o fascismo

"Leed. Combatiendo la ignorancia derrotareis al fascismo. El Ministerio de Instrucción Pública abre bibliotecas para el pueblo"

Ministerio de Instrucción Pública y Bellas Artes

[1936?]

Daqui

"Leed. Combatiendo la ignorancia derrotareis al fascismo. El Ministerio de Instrucción Pública abre las bibliotecas al pueblo. Si no puedes leer en la biblioteca pide en ella libros para leerlos en tu casa"

Ministerio de Instrucción Pública y Bellas Artes

[1937?]

Daqui

As ocupações do rei

Revista L'Assiette au Beurre, n°243, 25 de Novembro de 1905, desenhos de Leal da Câmara. Daqui

Máquina para ler

Ramelli, Agostino, Le diverse et artificiose machine del capitano Agostino Ramelli..., Paris, in casa del'autore, 1588, pp. 316-317. Daqui

Ceifa e vindima no Apocalipse

Daqui

    "O Apocalipse do Lorvão pertenceu ao mosteiro de São Mamede Lorvão, de onde foi trazido para a Torre do Tombo por Alexandre Herculano.

(...) 

    Uma das ilustrações mais trabalhadas do Apocalipse - a colheita e vindima (Livro do Apocalipse, Liv. 14-14-20; f. 172v) representa Cristo, o juiz, com a coroa da vitória que, de foice em punho, se prepara para ceifar a seara seca, seca porque envenenada pelo pecado, árida e estéril, boa para alimentar o fogo. Nas Escrituras, o Juízo de Deus é comparado à ceifa e à vindima. A ceifa é o símbolo da destruição total da humanidade desobediente a Deus, cortada pela foice da sua justiça. Um anjo aparece com uma foice, ou podoa, na mão, e corta das latadas os cachos também eles envenenados pela rebeldia humana e lança-os no lagar da ira de Deus, onde são pisados e espremidos.

    Esta ilustração retrata a vida da sua época (a de D. Afonso Henriques): as alfaias agrícolas (podoas, foices, cestos de vime); os trajos dos vindimadores e do ceifeiro, Cristo, de largo chapéu de palha; a disposição das videiras (em latada, escoradas de onde a onde; o processo de lagaragem). Igualmente tem interesse para o estudo da arquitectura (vejam-se as 7 arcadas românicas do 2º plano), e para o estudo das tintas e pigmentos utilizados."

São Jerónimo, a cabaça, a hera e o rícino

Saint Jerome in His Study
Albrecht Dürer
1514

Daqui

    "Suspended above the threshold in the immediate foreground is a large, ripe gourd still retaining its leaves and vine as if freshly cut from the garden. The meticulous care with which this engraving is composed and our general knowledge of Dürer's use of plant symbolism indicate that so prominent a motif must have some particular significance. Specific identification of the plant itself poses no difficulty. It is a common variety of gourd classified in the Latin genus Cucurbita and known in German as Kürbis. A woodcut illustration taken from the German edition of a herbal published in 1485 provides an adequate though crudely schematized likeness.

    Dürer's inclusion of the gourd is indeed meaningful, for this very plant was the subject of a philological controversy which concerned Jerome for at least a decade. The debate to which it refers involves a biblical passage from the Book of Jonah (4:6): "And the Lord God prepared a gourd, and made it to come up over Jonah, that it might be a shadow over his head, to deliver him from his grief. So Jonah was exceeding glad of the gourd." In his edition of the Latin Vulgate Jerome translates the name of this plant as hedera, a type of ivy, rejecting the older Latin reading of cucurbita or gourd. As we learn from his commentary on the Book of Jonah written ca. 396, Jerome was attacked fiercely for this alteration. In the lengthy section of his commentary devoted to this verse Jerome argues with satirical vehemence against his critics

    Characteristically, Jerome concentrates on the Hebrew text as a basis for his interpolation. Jerome recognizes that the Hebrew term for the plant - ciceion or kikayon - refers to the castor oil plant which grew abundantly in Palestine. He notes that the botanical nature of this leafy vine which sprouts quickly and withers in the sunlight accords well with that described in the Bible. Since Jerome knows of no Latin or Greek word for the castor oil plant he selects hedera which he implies is physically closer than the cucurbita to the ciceion. Furthermore, he insists that the Greek term used in the Septuagint version of the Jonah passage is more correctly rendered hedera than cucurbita as earlier translators had maintained. The conflict over Jonah's bower flared up again later in Africa, provoking an important exchange of letters between Jerome and Augustine in the years 403-04."

Parshall, Peter W., "Albrecht Dürer's Saint Jerome in his Study: A Philological Reference" in The Art Bulletin, vol. 53, nº. 3 (Setembro 1971), pp. 303-305.

Ir à missa

"Portugueze lady going to mass"

Drawn by M. Baillie

Baillie, Marianne, Lisbon in the years 1821, 1822, and 1823, 2.ª edição, vol. I, Londres, J. Murray, 1825.