10 main works of Aleijadinho
Aleijadinho (1738-1814) was a sculptor and architect, one of the two greatest names in Brazilian plastic arts and a great artist of our Baroque.
O breeder fazia sculptures mainly in pedra sabão, but also trabalhava with wood. Creator of a most sacred art, he was the idealizer of many altars of churches, sculptures, chafarizes, covers, and also architectural projects.
1. Santuário do Bom Jesus de Matosinhos (in Congonhas)
This is the Santuário do Bom Jesus de Matosinhos, located on the hill of Maranhão, in Congonhas, where there are twelve prophets sculpted in stone above the two famous passages of the paixão of Christ. As criações dated from the XVIII century.
Aleijadinho was a pioneer because he was first regional artist to use pedra-sabão as raw material you give his sculptures of him. Até então a pedra-sabão was used mainly to replace ceramics, for example, to raise simple fish such as vasilhames or panelas. So much so that, naquela time, or material was popularly known as “pedra de panela” or “pedra-panela”.
One of the two great differences of Aleijadinho, compared to other contemporary artists, for besides the material that he used, it was or was his care of him working on anatomy of a shape clamming to perfection.
Sometimes Aleijadinho makes intentional deformations to emphasize a movement or an expression of the portrayed. Esse rigor These are the most important characteristics of his work.
Aleijadinho received a commission in 1796 to create sculptures of the Via Sacra and Prophets for the Santuário. These works, a little artist with the help of two serious assistants, I have been through his work as his first works.
The two 12 prophets sculptures came to be raised in 1796 and completed in 1805. As a matter of fact, all the prophets present searched hair covered by turbans. In terms of feições, all also present olhos puxados, meio orientais.
The architectural ensemble of Santuário do Bom Jesus de Matosinhos is considered a Unesco world heritage site.
2. Altar Nossa Senhora do Rosário
Foi no district of Santa Rita Durão, em Mariana, that Aleijadinho sculptures or seu first altar, in homage to Nossa Senhora do Rosário.
Rich in details, or work, was entrusted to the Capela de Nossa Senhora do Rosário for the performance. As to irmandade tinha few resources, or work of Aleijadinho needs to be, in a certain way, limited, or that neither fez as an artist sacrifices to work in aesthetic terms.
Despite being or his first altar, or work of an impressive wealth: or project, all raised in rococo style, contains golden details that transmit the richness of the historical period lived in the Minas Gerais region.
For many years Aleijadinho, who was great in Brazilian plastic arts, was styled even hairs and did not see his work deeply recognized. He was just like modernists, I don't know XX, that his work was re-honored and truly honored. Mário de Andrade, for example, wrote a text in 1928 called Aleijadinho celebrating the artist's original production.
3. Igreja de São Francisco de Assis
A Igreja de São Francisco de Assis, located in Ouro Preto, was formed by the greatest criações de Aleijadinho.
Or project, which began in 1766, is in construction at the goal of the XIX century. Aleijadinho received a commission logo após a morte do seu pai.
Além de assinar or projeto da igreja, or artist also foi or responsible altar-mor hair, reedbular hair and pela fonte. This is a few examples of Catholic construction where the same artist is not the only one or the project. architectural as well as internal ornamentation, being responsible for both interior hair and exterior hair da igreja.
The framework was projected in 1778-1779 and contains traces of the Rococo style as many decorative ornaments like anjos, fitas, garlands feitos em pedra-sabão As towers, rounded, with an original style.
Na igreja has two pulpits sculpted in Sabão stone dating from 1771 representing four evangelists (São João, São Mateus, São Lucas and São Marcos).
4. Igreja N.Sra. das Mercês e Perdões
A construção da Igreja N.Sra. das Mercês e Perdões was started in 1742.
Aleijadinho was hired to work on sculptures in cappella-mor in 1775, having received the commission, according to the records, at the cost of six oitavas de ouro as a form of payment.
Além da capela-mor, Aleijadinho criou em pedra-sabão two important sculptures present in the interior: a de São Pedro Nolasco and a de São Raimundo Donato.
Aleijadinho applies more detailed creations than other crafts of the period - such as cherubs, flowers and ornaments in Rococo. Or an artist, who might be in wood and stone, when it was possible to add details to colors and doubles.
5. Chafariz for or Hospício da Terra Santa
OR Aleijadinho's first individual project, made in 1752, was created for the Pátio do Palácio dos Governadores, located in Ouro Preto. O Palácio dos Governadores was erected not a local where it customary to operate at Casa de Fundição e Moeda.
O contract was assassinated by the artist and, on occasion, Aleijadinho, who made the work, he has barely 14 years. Já nesse first work and it is possible to find traces of his art that or accompany the rest of his career such as attention to detail.
Despite historically having been an important work in Aleijadinho's career, practically there has been no record of it.
6. Chafariz do Alto da Cruz de Vila Rica
O pai de Aleijadinho had been hired to build a chafariz, in 1757, in a region where it is currently in the city of Ouro Preto. A construction was erected at the initiative of the Vila Rica Chamber of the Senate, which opened a process of public agreement. Projected by Antônio Francisco (as well as Chafariz do Palácio dos Governadores de Ouro Preto), this is a great differential item.
Here Aleijadinho esculpiu no topo do chafariz um feminino bust pagão em 1761 - foi a first sculpture pagã do period. Usually we use to embed a prominent cross in the position of Aleijadinho colocou or bust.
O bust has influences of the illuminist thought, which vigorava na Europe. With humanistic characteristics, or bust raised by Aleijadinho antecipa or rococo movement demonstrating or being an innovator.
This was the first two jobs in the region where it was used as a material for pedra-sabão.
Apart from being a space to export public art, the public chafarizes for the occasion that has an important social function: few were more people than that of running water at home. You chafarizes, therefore, serve to supply the city.
7. Chafariz for or Hospício da Terra Santa
Sculpted in 1758 with pedra sabão, or Chafariz for or Hospício da Terra Santa é tido até hoje as a primeira work in the late baroque style.
Between 1750 and 1759 he was a frequent artist or Internato do Seminário dos Franciscanos Donatos do Hospício da Terra Santa to learn Latin, religion, grammar and mathematics laws.
From that job, Aleijadinho began to tune more and more, especially as anonymous due to his mulatto condition. As he could not issue verifying documents, many works supposedly of his authorship, he was questioned.
8. Chafariz da Samaritana
Located in the city of Mariana, we do not know the date of the production of the fountain - we hardly know that it is a piece of the 18th century. Due to its formais characteristics, or chafariz it was attributed to Aleijadinho. Located in the nobre zone of the city, but it was installed in front of the novo Palácio Episcopal.
Na peça we see a baixo-relay that represents the episode of Christ and the Samaritan woman. Na imagem we see Jesus sitting and Samaritan woman, who drew a pitcher to offer water to Christ. A personagem, as a decote, transmits a certain sensuality. O sensualism is some important baroque characteristics, quite present in Aleijadinho's works.
There is also an engraving, year founded, illustrated by a tree. A molding that surrounds a rococo image, irregular, with many details. On the next page you will find the Archdiocesan Museum.
The theme of the Samaritan woman is not exclusively restricted to that work, except for other three works by Aleijadinho where there is a representation of the subject (a source of the street in Ouro Preto, a statue of a residential garden in the same city and a pulpit in Capela de Nossa Senhora do Carmo de Sabará).
9. Igreja da Nossa Senhora do Carmo
Na Igreja da Nossa Senhora do Carmo or artist was responsible for unraveling and sculpting important parts of the church such as the frontispiece, the pulpits, or choir, to decorate the cover.
Nessa works, to support the choirs, Aleijadinho created two colorful muscular angles. As symbolically the anjos fazem força for carregarem or choir, the cherubs appear to outstanding musculature.
Esse dialogue between sculpture and its symbolic function no place where we are It was one of the most important characteristics of the sculptor's creations.
10. São Joaquim
Aleijadinho sculpted the figure of São Joaquim at the beginning of the XIX century in Madeira. Or sculptor escolheu portraying a very specific moment in the life of São Joaquim.
O santo was married to Ana, who was sterile, but thanks to divine intervention that he could be pai. This is the moment - when São Joaquim receives the news ecstatic ecstatic with joy - that Aleijadinho resolved to portray.
At present there is no Archdiocesan Museum of Sacred Art of Mariana.
Biography of Aleijadinho
Aleijadinho, named after Antônio Francisco Lisboa (1730-1814), born in the region where Ouro Preto is currently found and was an important architect and sculptor. He was filho de uma escrava (Isabel) with a Portuguese (Manoel Francisco Lisboa), who moved to Brazil in 1728 in search of a melhor life.
O pai de Aleijadinho, who was an architect and master of carpenter, married in 1738 with açoriana Maria Antônia de São Pedro with four filhos. Aleijadinho, who learns all the trades as a country, socially was always seen as a bastard filho.
Aleijadinho sofreu for being mestiço: for being filho bastard he does not have direct to herança do pai e, as viveu numa society of preconceituosa, cannot assinate many works nem records of payments hairs seus works rendered.
For having lived through our epoch of our region, he received many commendations. The breeder opened his office to him in 1770. In his production he focused on religious themes, having produced a series of commissions of sacred art entrusted to the church. As his pieces of it are produced for cities of Ouro Preto, Tiradentes, Mariana, Congonhas do Campo, Barão de Cocais, Sabará, Felixlândia, Matosinhos, Caeté and São João del Rei. His works were deeply influenced by Rococo hair.
Why was I given or not by Aleijadinho?
From 1777 onwards, there will emerge sinais da doença que fizeram com que Aleijadinho ganhasse or apelido que ganhou. Ele sofreu com uma doença grave - biographers credited with being syphilis or leprosy, it is not known bem -, but a doença fez com that as more and more pés ficassem deformed damaging his life and his rotina in the office.
Because of the doença, Aleijadinho had to learn new ways of working. Between 1807 and 1809 he needed to date his office as deteriorated health. To his mobility he was especially committed because of the lost two feet, then he went to work with Joelhos ao chão.
Conheça also
- Baroque: all about or artistic movement
- Sculpture Vênus de Milo
- Davi sculpture by Michelangelo
