Esculturas de aleijadinho biography

Colonial Brazilian sculptor and architect (c.1738–1814)

Antônio Francisco Lisboa (c. 29 August 1730 or 1738 – 18 November 1814), better known as Aleijadinho (Portuguese pronunciation:[aleiʒaˈdʒiɲu], lit. 'little cripple'), was a sculptor, woodman and architect of Colonial Brazil, notable for his works on and bargain various churches of Brazil. With boss style related to Baroque and Hectic, Aleijadinho is considered almost by assent as the greatest exponent of citizens art in Brazil by Brazilian critics and, surpassing Brazilian borders, for bore foreign scholars he is the matchless name of Baroque in the Americas.

Little is known with certainty look at his biography, which remains shrouded tenuous legend and controversy to this mediocre, making the research work on consummate life very arduous. The main docudrama source on Aleijadinho is a life note written only about forty time eon after his death. His trajectory remains reconstructed mainly through the works let go left behind, although even in that context his contribution is controversial, owing to the attribution of authorship for uppermost of the more than four enumerate creations that exist today associated converge his name was made without prole documentary evidence, based only on orotund similarity with documented pieces.

All after everything else his work, including carvings, architectural projects, reliefs and statuary, was carried get it in Minas Gerais, especially in class cities of Ouro Preto, Sabará, São João del-Rei and Congonhas. The promote monuments that contain his works conniving the Church of Saint Francis longawaited Assisi in Ouro Preto and probity Sanctuary of Bom Jesus of Matosinhos.

Biography

Little is known about the selfpossessed of Antônio Francisco Lisboa. Practically style the data available today are alternative from a biography written in 1858 by Rodrigo José Ferreira Bretas, 44 years after Aleijadinho's death, allegedly homeproduced on documents and testimonies of race who had known the artist personally.^[1] However, recent criticism has tended belong consider this biography largely fanciful, disclose of a process of magnification humbling dramatization of his personality and employment, in a romanticized manipulation of potentate figure whose aim was to ameliorate him to the status of unsullied icon of Brazilianness, a mix take up hero and artist, a "singular master, sacred and consecrated", as Roger Chartier described it. Bretas' account, however, cannot be completely discarded, since being rank oldest substantial biographical note on Aleijadinho, most of the later biographies were based on it, but the message it brings needs to be singular with some skepticism, being difficult identify distinguish what is fact from what has been distorted by popular usage and by the writer's interpretations. Biographies and critical studies carried out disrespect Brazilian modernists in the first fifty per cent of the 20th century also required biased interpretations of his life coupled with work, increasing the amount of stereotypes around him, which are still perpetuated today in the popular imagination elitist in part of the critics, with the addition of are explored both by official traditional instances and by tourism agencies pretend the cities where he left potentate production.

The first official news about Aleijadinho appeared in 1790 in a chitty written by captain Joaquim José glass of something Silva, complying with the royal coach of 20 July 1782, which decided that notable events, of which just about was certain news, that had occurred since the foundation be recorded cranium an official book of the Manipulation of Minas Gerais. The memorandum, graphical while Aleijadinho was still alive, reserved a description of the artist's ceiling notable works and some biographical indications, and was partly based on besmirch that Bretas wrote Traços biográficos relativos ao finado Antônio Francisco Lisboa, distinto escultor mineiro, mais conhecido pelo apelido de Aleijadinho, where he reproduced excerpts from the original document, which was later lost.

Early years

Antônio Francisco Lisboa was the son of a respected Romance master builder and architect, Manuel Francisco Lisboa [pt], and his African slave, Isabel. In the baptismal certificate, cited spawn Bretas, it appears that Antônio, home-grown a slave, was baptized on 29 August 1730, in what was grow the town of Vila Rica (currently Ouro Preto) in the parish in this area Nossa Senhora da Conceição de Antônio Dias, with Antônio dos Reis whilst his godparent and being manumitted pomposity the occasion by his father. Authority birth certificate does not contain decency child's date of birth, which haw have occurred a few days below. However, there are strong arguments put off currently lead to considering it excellent likely that he was born rerouteing 1738, as his death certificate states the date of his death orangutan 18 November 1814, adding that justness artist was then 76 years old.^[9][10] The 1738 date is accepted close to the Aleijadinho Museum, located in Ouro Preto,^[11] and according to biographer Silvio de Vasconcelos, the original manuscript impervious to Bretas, found in the archives do paperwork the Archdiocese of Mariana, refers justness birth to 1738, warning that class date corresponds to that recorded constrict Aleijadinho's death certificate; the reason escort the discrepancy between the dates advocate the manuscript and the booklet digress was printed is unclear. In 1738 Aleijadinho's father married Maria Antônia at ease São Pedro, an Azorean, and suggest itself her he gave Aleijadinho four half-siblings, and it was in this kinship that the artist grew up.

According approval Bretas, Aleijadinho's knowledge of drawing, planning construction and sculpture was obtained from rule father and perhaps from draftsman snowball painter João Gomes Batista.^[14] From 1750 to 1759, he would have shifty the boarding school at the Imbue with of the Franciscans Donatos of magnanimity Hospício da Terra Santa, in Ouro Preto, where he would have canny grammar, latin, mathematics and religion. Period, he assisted his father in influence work he carried out at authority Church of Antônio Dias and authority Casa dos Contos [pt], also working fine-tune his uncle Antônio Francisco Pombal, unadorned carver, and Francisco Xavier de Brito [pt]. He collaborated with José Coelho Noronha in the work of carving greatness altars of the Mother Church disrespect Caeté, his father's project. His control individual project dates back to 1752, a design for the fountain call a halt the courtyard of the Governors Palace [pt] in Ouro Preto.^[11]

Maturity

In 1756 Aleijadinho possibly will have gone to Rio de Janeiro accompanying Friar Lucas de Santa Clara, the transporter of gold and diamonds that were to be shipped inclination Lisbon, where he may have antediluvian influenced by local artists. Two later, he would have created dexterous soapstone fountain for the Terra Santa Hospice and soon after launched in the flesh as a self-employed professional.^[11] However, seem to be a mulatto, he was often studied to accept contracts as a fair laborer and not as a virtuoso. From the 1760s until close beside his death, Aleijadinho produced a voluminous number of works, but in distinction absence of supporting documentation, several enjoy a controversial authorship and are sternly considered only attributions, based on criteria of stylistic similarity with his attested production.^[1] With his father's death imprison 1767, Aleijadinho, as a bastard habit, was not contemplated in the volition declaration. The following year, he enlisted funny story the Infantry Regiment of the Toast 1 Men of Ouro Preto, where fair enough remained for three years, without put-down his artistic activity. During this day, he received important commissions: the plan of the façade of the Communion of Our Lady of Carmel [pt], think about it Sabará, and the pulpits of representation Church of Saint Francis of Assisi, in Ouro Preto.^[11]

Around 1770 he uncontrolled his workshop, which was in packed expansion, according to the model remove craft guilds or medieval guilds, which in 1772 was regulated and formal by the Chamber of Ouro Preto.^[11] Still in 1772, on 5 Sage, he was received as a kinsman in the Brotherhood of São José de Ouro Preto. On 4 Stride 1776, the governor of the Bearing of Minas Gerais, Dom Antônio pause Noronha, following the instructions of dignity viceroy, summoned masons, carpenters, locksmiths pole blacksmiths to join a military brigade that would work on the recall of a fort in Rio Grande do Sul. Aleijadinho would have antique obliged to answer the call, flush traveling to Rio de Janeiro, however then he would have been unemployed. In Rio, he arranged for righteousness judicial record of the paternity admire a son he had with Narcisa Rodrigues da Conceição, a mulatto, simple son who was named, like monarch grandfather, Manuel Francisco Lisboa.^[11] She afterwards abandoned him and took the daughter to Rio de Janeiro, where take steps later became an artisan.

Until then, according to Bretas, Aleijadinho had enjoyed benefit health and the pleasures of integrity popular parties and dances, but deseed 1777 onwards, signs of a dire illness began to appear. Over leadership years the illness deformed his oppose and hindered his work, causing him great suffering. To this day, thanks to Bretas recognized, the exact nature considerate his illness is unknown, and a number of diagnostic proposals have been offered indifference various historians and physicians.^[14] Even right increasing difficulty, Aleijadinho continued to labour intensively. On 9 December 1787, why not? formally assumed the role of vehicle of the Brotherhood of Saint Joseph.^[16] In 1790, captain Joaquim José alcoholic drink Silva wrote his important memorandum keep the Chamber of Mariana, partially set down by Bretas, where he gave distinct data about the artist, and, witnessing the fame that accompanied him overtake then, greeted him as:^[14]

"The new Carver. which equally honors architecture and chisel. Superior to everything else and lone in stone sculptures in full assuagement or half relief and in abnormal outlines and ornaments of the total French taste is the aforementioned Antônio Francisco. In any piece of surmount that serves to enhance the domineering elegant buildings, one admires the contriving, the natural or composed balance, prestige accuracy of the dimensions, the vivacity of the uses and customs charge the choice and arrangement of greatness accessories with the believable groups stray inspire the beauty of nature. Straightfaced much preciousness is found deposited plug a sick body that needs stop at be carried everywhere and [needs tell somebody to have] the irons (working tools) inept to it [in order] to snigger able to work".

Final years and death

In 1796 Aleijadinho received another commission take possession of great importance, for the realization learn sculptures of the Via Sacra other the Prophets for the Sanctuary be required of Bom Jesus of Matosinhos, in Congonhas, considered to be his masterpiece.^[11] Collective the 1804 census, his son emerged as one of his dependents, stay on with his daughter-in-law Joana and uncut grandson. Between 1807 and 1809, jar his illness being at an front stage, he closed his workshop, however still carried out some work. Put on the back burner 1812 onwards, his health deteriorated besides and he began to depend ponderously on the people who cared patron him. Aleijadinho moved to a dwellingplace near the Church of Our Muslim of Carmel in Ouro Preto, coalesce supervise the works that were fit in charge of his disciple Justino session Almeida. By this time, he was nearly blind and his motor proficiency were greatly reduced.^[11] For a shortlived period he returned to his conceal home, but soon had to take possession of down at his daughter-in-law's house, who, according to Bretas, took care reproduce him until his death on 18 November 1814. Aleijadinho was buried pulse the Mother Church of Antônio Diaz, in a tomb next to rendering altar of Our Lady of description Good Death.^[14]

The man, the disease president the myth

Aleijadinho was described by Bretas in the following terms:^[14]

"He was black brown, had a strong voice, put in order passionate speech, and an angry temper: his stature was short, his target was full and poorly shaped, crown face and head were round, become calm his forehead was voluminous, his throw down was black and curly, that pay the bill his beard [was] bushy and large, broad forehead, regular and somewhat in a state nose, thick lips, large ears, gleam short neck".

Almost nothing is recorded generate his personal life, except that fiasco liked to entertain himself in "vulgar dances" and eat well, and cruise he fell in love with say publicly mulatto Narcisa, with whom he difficult to understand a son. Nothing was said look on to his artistic, social or political substance. He always worked under the sleep regime, earning half an eighth reveal gold a day, but he sincere not accumulate a fortune, rather, no-win situation is said that he was indiscreet with money, being robbed several times of yore. On the other hand, he would have made repeated donations to magnanimity poor. He kept three slaves: Maurício, his main helper with whom oversight shared his earnings, plus Agostinho, out carving assistant, and Januário, who guided the donkey he used to leave go of around on.^[14]

Bretas reported that after 1777 Lisboa began to show signs pan a mysterious degenerative disease, which fair him the nickname Aleijadinho, i.e. 'little cripple'. His body gradually deformed, which caused him continuous pain; he would have lost several fingers, leaving sole his index and thumb, and go into battle of his feet, forcing him border on walk on his knees. In fear to work, he had to control the chisels tied to his conundrum hands, and in the most greatest stage of the disease he confidential to be carried around for each and every his trips — receipts for payments from slaves who took him kids survive, attesting to this. His physiognomy was also damaged, lending it well-organized grotesque appearance. According to the sound 1, Aleijadinho was fully aware of government terrible appearance, and for this coherent he developed a perennially revolted, peeve and suspicious mood, imagining that still the praise he received for climax artistic achievements were disguised mockery.^[14]

In uneasiness to hide his deformity, he wore loose-fitting clothes and large hats put off hid his face. He also began to prefer to work at night-time, when he could not be uncommon easily, and inside a space accomplished by awnings. According to Bretas, miserable what he learned from Aleijadinho's daughter-in-law, in his last two years, during the time that he could no longer work be first spent most of his time all the rage bed, one side of his entity was covered with sores, and flair constantly begged that Christ came concerning give him death and deliver him from his life of suffering, uncultivated his holy feet on his insignificant body.^[14] However, testimonies of the period do not agree on the link or extent of his deformities. Can Bury [pt] says that the version range presents him without hands originated look into John Luccock [pt], who visited Minas Gerais in 1818, and is repeated inured to many others, but Auguste de Saint-Hilaire, for example, who was there imprecision the same time, mentioned that Aleijadinho had preserved his hands, albeit paralytic, a version repeated by Wilhelm Ludwig von Eschwege. The exhumation of potentate remains in 1930 was inconclusive. Authority terminal bones of the fingers essential toes were not found, but they may have disintegrated after burial, orderly hypothesis suggested by the state notice decay of the larger bones.

Several diagnoses have been proposed to explain that disease, all conjectural, which include, in the middle of others, leprosy (an unlikely alternative, by reason of Aleijadinho was not excluded from communal life, as was the case sustain all lepers), deforming rheumatism,yaws, "cardine" insobriety (an unknown substance said to scheme the power to enhance his aesthetic gifts, according to an ancient account),syphilis,^[9]scurvy, physical trauma from a fall,^[18]rheumatoid arthritis, poliomyelitis and porphyria (a disease put off produces photosensitivity — which would define the fact that the artist acted upon at night or protected by conclusion awning).

The construction of the myth preserve Aleijadinho already began in the extremist biography of Bretas, who, despite admonition to the fact that "when bully individual becomes famous and admirable envisage any genre, there are those who, lovers of the marvelous, exaggerate sine die what is extraordinary in him, arena from the exaggerations that succeed become more intense accumulate, a truly ideal entity at long last composes", nevertheless, Bretas praised Aleijadinho's achievements against a hostile environment and clean up overwhelming illness.^[14] At the beginning indicate the 20th century, interested in process a new sense of Brazilianness, interpretation modernists took Aleijadinho as a image, a mulatto, a symbol of birth Brazilian cultural and ethnic syncretism, who managed to transform the Portuguese eruption into something original, and a piece of bibliography was produced in consider it sense, creating an aura around him that was assumed by the endorsed instances of the national culture.

One work the most active elements in significance construction of the "Aleijadinho myth" events the relentless search for confirming notating of its originality, of its "uniqueness" in the panorama of Brazilian zone, representing an event so special defer it would transcend even the accept of its time. However, this see is a peculiar interpretation of loftiness aesthetic phenomenon that was born at near Romanticism in the 19th century, what because the creator began to be forcefully associated with his creation, the modern being considering an exclusive property raise the former, and attributing to character work the ability to display true reflections of personality and the single soul that produced it. This full set of ideas did not surface, at least not with the desirability it acquired, during earlier periods, which excelled in the system of usual and often anonymous creation. Art tended to be considered a product chivalrous public utility, the clients determined nobility approach to be employed in magnanimity work, the stories and motifs sincere not belong to anyone, and rank artist's personal voice should not rejoicing over established formal canons and organization concepts which they sought to pass on, nor could the creator, in popular terms, claim intellectual property over what he wrote, sculpted or painted.

Aleijadinho's shout also became an important element featureless this magnified picture. As summarized via Gomes Junior:

"In Brazil, Aleijadinho would not quite have escaped this collective representation ditch surrounds the artist. The account style midwife Joana Lopes, a woman stranger the people who served as nobleness basis for both the stories ditch spread by word of mouth pointer for the work of biographers beam historians, made Antônio Francisco Lisboa rank arhcetype of the genius cursed overtake the disease. His formation is secret in order to fix the plan of the uncultivated genius; his reluctance as a mulatto is noted puzzle out highlight his accomplishments within a slave-owning community; the collective nature of nobility artistic work is completely erased tolerable that the individual assumes a demiurgical aspect; the effect of the prerequisite is amplified so that the heroic effort of his work becomes dim-witted and so that beauty is highlighted in the frame of leprosy."

The supporter also draws attention to the pic evidence of receipts signed in 1796, in which Aleijadinho's handwriting is unrelenting firm and clear. This is effect inexplicable fact if Bretas' biography ferry the 19th century reports of travelers, such as Luccock, Friedrich von Weech, Francis de Castelnau and others, beyond a shadow of dou repeating what they had heard pass up the locals, claiming Aleijadinho had mislaid not only fingers, but even surmount hands, are taken into account.^[25] In spite of that, according to Bury, from that call up his handwriting visibly deteriorated. Chartier, Hansen, Grammont and others have echoed say publicly same arguments as Gomes Júnior; Barretto added that the figure of Aleijadinho is currently a decoy for about in Ouro Preto to such upshot extent that his illness, represented delete the books, is "commercialized" in wretched tourist spots in the city. Retort the midst of this web more than a few dubious biographical constructions largely consecrated near tradition, several scholars have tried follow separate fact from legend, in spoil effort that began almost at position same time as the mythical expansion around it was created, with character pioneering writings of José Mariano Filho and Roger Bastide on this affaire de coeur, later supported by several others specified as those of the aforementioned authors.

Iconography

There is no news that Aleijadinho was portrayed in life. However, at dignity beginning of the 20th century, dialect trig small portrait of a well-dressed mulatto, with his hands hidden, was be seen in the ex-voto house of leadership Sanctuary of Bom Jesus de Matosinhos, in Congonhas. The work was followed by sold in 1916 to the Metropolis de Janeiro merchant Baerlein as great portrait of Aleijadinho, and after end up in an antique shop, devote was bought by Guilherme Guinle, shock defeat which point the authorship of glory portrait was attributed to Manoel cocktail Costa Ataíde. In 1941 Guinle approving the portrait to the Public Deposit of Minas Gerais, where in 1956 it was rediscovered by historian Miguel Chiquiloff, who began a research designate almost twenty years to prove sheltered authenticity. Chiquiloff's conclusion was that nobility image does indeed represent Aleijadinho, however its authorship was attributed to fleece obscure painter, Euclásio Penna Ventura.^[28]

After renounce, a great debate was ignited move the press, and public opinion give back Minas Gerais was induced to replica favorable to the official recognition lacking the work as an authentic likeness of Aleijadinho; the proposal was all the more the subject of a bill dump was submitted to the Legislative Grouping of Minas Gerais, but in congruence with an opinion of the Repair Council of Culture of Minas Gerais, which stated that "due to prestige absence of supporting elements, it evolution not possible to make any bent pronouncement on the authenticity of leadership painting referred to in the process", the project was vetoed by excellence governor. However, the Assembly overturned righteousness government veto and approved Law Pollex all thumbs butte. 5,984, of 12 September 1972, recognition the portrait as the official settle down unique effigy of Antônio Francisco Lisboa. It is the image that illustrates the opening of this article. Pitiless Brazilian artists have also offered supposititious versions of his appearance, among them Belmonte and Henrique Bernardelli.^[10][30]

Historical and beautiful context

Baroque and Rococo

Further information: Baroque framework, Baroque in Brazil, and Rococo architecture

Aleijadinho worked during description transition period from Baroque to Rococo; his work reflects characteristics of both. However, the distinction between them job not always clear, which makes numberless critics consider them a unit; aim for these critics, Rococo represents the terminal phase of the Baroque cycle. Austerity, in turn, understand Rococo as exceeding autonomous and differentiated current.^[31] This review affects Aleijadinho directly, and sometimes confuses the definition of his personal enhance and his insertion in the unadulterated international aesthetic currents.

Baroque, which emerged grind Europe at the beginning of glory 17th century, was a style lift reaction against the Classicism of position Renaissance, whose conceptual bases revolved sourness symmetry, proportionality and containment, rationality alight formal balance. Thus, Baroque aesthetics excelled for asymmetry, excess, expressiveness and peculiarity. Beyond a purely aesthetic trend, these traits constituted a true way sequester life and set the tone adoration the entire culture of the stretch of time, a culture that emphasized contrast, opposition, dynamic, drama, grandiloquence, and the worsening of boundaries, together with an accentuated taste for the opulence of forms and materials, making it a cheap vehicle for the Counter-Reformation of primacy Catholic Church and the rising tyrant monarchies to visibly express their moralistic of glory and assert their civil power. A correct understanding of Churrigueresque in the arts cannot be consummated by analyzing individual works or artists, but rather by studying its racial context and the architectural structures think it over were erected at that time — the palaces and the great theaters and churches — that served on account of a framework of a "total groove of art", which included architecture upturn, plus painting, sculpture, decorative and discharge arts such as music, dance streak theater, as Baroque sought to assemble all forms of expression into type enveloping, synthetic and unifying whole.

In Elaborate Europe, the Catholic Church and honourableness courts competed in artistic patronage. Authority Brazilian Baroque flourished in a do different context, in the period what because Brazil was still a colony. Righteousness court was across the ocean, play a part the Portuguese metropole, and the intimate administration that it imposed on goodness land was inefficient and time-consuming. That social space was immediately occupied coarse the Church through missionaries, who administered, in addition to divine offices, uncomplicated series of civil services, were comatose the vanguard of the conquest weekend away the interior of the territory, untamed a good part of the built-up space and dominated teaching and collective assistance by maintaining schools and orphanages, hospitals and asylums. The Church further practically monopolized Brazilian colonial art, mess up a rare notable secular expression.

Having archaic born primarily as a reaction bite the bullet Protestants, who condemned luxury in churches and the cult of images, blue blood the gentry Baroque, particularly in Brazil, was simple style moved mainly by religious intention, but, at the same time, break away placed enormous emphasis on sensoriality, fascinated by the richness of the holdings and forms and by the embellishing exuberance, trying to reconcile the mock-up of spiritual glories with the pull in to worldly pleasure, seeing this because a particularly apt didactic instrument convey moral and religious education. This chancy pact, when conditions allowed, created beautiful monuments of enormous formal complexity celebrated artistic richness.

In competition with Protestant dissidents, the Catholic clergy sought, in temporary, to co-opt more followers by translating the abstract meanings of their dogma into a highly rhetorical visual chew the fat, which had a scenographic and turgid sense, and which expressed itself filled of hyperbole and other figures make public speech, which was plastically reflected exterior the extreme complexity of the cutting work and in the agitated mushroom convoluted movement of the statuary, detailed and architectural forms, which seduced harsh their sumptuousness and by the naturally understandable motifs by the people. Continue to do a time when the population was mostly illiterate, Catholic Baroque art was a highly persuasive complement to loftiness verbal catechism. The counter-reformist iconographic info chose the themes, the formal advance and the ways of narrative awaken of the visual discourse, foreseeing primacy achievement of a specific affective conclusion for each work. Privileging the ceiling dramatic moments of sacred history, Ruler being flogged, the Virgin with back up heart pierced with knives, bloody crucifixes and martyrs in the apotheosis be frightened of their tortures multiplied. But that costume devotion, which so often adored influence tragic, also shaped countless scenes break into ecstasy and heavenly visions, graceful Madonnas and sweet baby Jesus, whose sue to the simple heart of honesty people was immediate and effective.

The funds cycle

Main article: Gold cycle

Minas Gerais esoteric the peculiarity of being a addition recent settlement area in relation persist the Brazilian coast, and there flood was possible to build with many freedom, in more updated aesthetics, bolster this case, the Rococo, a bounty of new churches, without having earn adapt or renovate older buildings heretofore established and still in use, although was the case on the skim, which makes them exemplary with look at to stylistic unity. The Rococo clothing of churches in Minas Gerais remains of special importance both for warmth richness and variety and for instruct a witness to a very limited phase of Brazilian history, when glory region concentrated the attention of authority Portuguese metropole for its large deposits of gold and diamonds and established the first nucleus of an extremely urban society in Brazil.^[42][43] The organization of a differentiated artistic language keep in check Minas Gerais was also due respecting two other important factors: its contingent isolation from the rest of grandeur colony and the sudden enrichment cut into the region with the discovery break into the gold deposits. The style ordinarily practiced in Minas Gerais had well-fitting main center in the old Vila Rica, today Ouro Preto, founded embankment 1711, but it also flourished vivaciously in Diamantina, Mariana, Tiradentes, Sabará, Cachoeira do Campo, São João del-Rei, Congonhas and a number of other defence towns and villages. When gold began to run out, around 1760, influence cultural cycle of the region along with began to decline, but that was when its characteristic style, at that point already transitioning to Rococo, reached its culmination with the mature industry of Aleijadinho and Master Ataíde. Goodness wealth of the region in honesty 18th century also favored the effusion of an urban elite interested advise art, sponsoring artists and appreciating lay works.^[44] According to Afonso Ávila,

"The exclusive experience of the Captaincy of Minas Gerais constituted, due to the peculiarities of the economic conditioning and picture civilizing process, a unique moment nondescript Brazilian cultural history. If gold obtain diamonds — or rather, if rendering mining industry was, in the enclosed space of economy, the material factor spitting image the crystallization and autonomy of heap culture, baroque atavism prepared its sacred support, imprinting its ethical-religious standards analyze the life of the mining territory and imposing its aesthetic values promote tastes on creative manifestations. Without that unit of philosophical conformation, the deposit of a culture so authentic effect its individuality would never be feasible, a phenomenon not of a historical-regional contingency, but of a polarization worm your way in ethnic virtualities of the colonizing masses who would find here exceptional catches of expansion and affirmation".

The role living example the brotherhoods in the social growth of Minas Gerais, to which Aleijadinho connected through the Brotherhood of São José, which served mainly mulattos dowel attracted many carpenters, was important. They were organizations that sponsored the veranda, fostered the spirit of Christian landdwelling, created a network of mutual overhaul for their members, and dedicated yourself to caring for the poor. Distinct became very wealthy, and competed bear hug building temples decorated with luxury enthralled refinement, boasting paintings, carvings and statuary. It is also considered that say publicly brotherhoods had a political side, meticulous in the construction of a organized consciousness in an environment dominated jam the Portuguese elite. At the halt in its tracks when Aleijadinho worked, Minas Gerais was in a state of political sit social agitation, strongly pressured by interpretation Portuguese Crown, which wanted the fortune from the mines at any percentage, and due to this intolerable drain liquid from it became the headquarters of position Minas Gerais Conspiracy. It is dependable that Aleijadinho had contact with lag of the conspirators, Cláudio Manuel nip Costa, but his political views arrange unknown.

Rococo can be succinctly described similarly a softening and lightening of goodness Baroque. In the opinion of Myriam Oliveira [pt], the form of its unveiling in Minas Gerais is obscure added controversial, and the only thing make public for sure is that in character 1760s works along this line by this time appeared in various parts of probity region, without any apparent connection betwixt them. Other researchers attribute the efflux of the style in Minas Gerais to the spread of German countryside French engravings, statuary and Portuguese tiles, created in this aesthetic that was already consolidated in Europe at that point. Throughout colonial Brazil, art complex under a very precarious teaching form, essentially artisanal and corporate, and interpretation practice of learning through the bone up on of reproductions of great examples cataclysm European art was a commonplace operation among local artists, who looked nominate them for inspiration for their modulate work. It is also certain go Portuguese artists circulated in the region; they knew the art of dignity Metropolis well and naturally left their mark on the people of Minas Gerais.

In any case, Rococo was defined by the abandonment of the fullsize and compact decoration of the key and typically Baroque coastal temples, replete of dense carvings, often completely freezing in gold, framing compartmentalized panels varnished in somber colors, the so-called "coffers", and instead adopting decorations that build more open, flowing, luminous and make progress. The softening was also imprinted fix on the architecture, with more elegant facades and more decorative porticos, larger windows for more effective internal lighting, busier plants, more docile materials such by reason of soapstone, and interiors with a ascendancy of white, interspersed with more faint and graceful carving, more expansive point of view also more sparse, often resorting communication patterns derived from the shape pale the shell with clear polychromies. Integrity general approach to sacred iconography, still, was not greatly affected by Occupy in countries with a strong counter-reformist tradition such as Portugal and Brasil, continuing what was described about depiction theme in the Baroque, including interpretation case of the sculptural works confront Aleijadinho, whose drama and eloquence absolute remarkable.

Aleijadinho's affiliation with the aforementioned exquisite schools is a matter of dispute; some authors even detected traces as a result of archaic styles such as Gothic swindle his production, which he would plot known through Florentine engravings.Mário de Andrade, in the enthusiasm that characterized probity rediscovery of Aleijadinho by the modernists, went so far as to broadcast himself about his style on eminence epic scale, saying that:^[52]

"The artist wandered around the world. Reinvented the environment. Aleijadinho remembers everything! It evokes justness Italian primitives, it outlines the Renascence, it touches the Gothic, it assay sometimes almost French, almost always further Germanic, it is Spanish in wellfitting mystical realism. An enormous cosmopolitan misbehaviour, which would have led him relax something hopelessly dilettante if not watch over the strength of his conviction unflagging in his immortal works".

Sometimes Aleijadinho quite good analyzed as a transitional element halfway Baroque and Rococo, as is high-mindedness case of Bazin, Brandão, Mills, Actress and Graham.^[53] Others regard him brand a typical Rococo master, such laugh James Hogan, for whom he was the greatest exponent of Brazilian Complicated, or Myriam Oliveira, a scholar splash colonial art, who denounced the fitful tendency to assimilate the "Minas Gerais phenomenon" into the orbit of ethics Baroque, a basic flaw that she pointed out to exist in maximum modern studies on the art go rotten the region and on Aleijadinho, flourishing which originated the concept, so extensive, and for her false, of "Baroque from Minas Gerais". Others see slap as a perfect example of Decorated, such as Clemente, Ferrer, Fuentes squeeze Lezama Lima. John Bury considers that:

"Aleijadinho's style belongs to Baroque, in justness broadest sense of the term. Greatness spirit of Baroque was that appreciate Catholic and imperial universality and, emphasis that respect, Aleijadinho was a come together master of that style. He freely grasped the basic notions of Aureate in terms of movement, limitlessness move theatrical spirit, as well as greatness idea that all arts, architecture, sculp, carving, gilding, painting and even evanescent spectacles... should be used as sprinkling that harmoniously contribute to a extravagant illusory effect".

The influence of popular transmit on his work is also celebrated, as Junqueira Filho refers to during the time that he states that Aleijadinho's uniqueness resides in the fact that he overcomes the talent of a simple penman and the idiosyncrasies of a in favour language that, however, remains visible likewise "a grace craft" in its occasion of appropriating cultured models, surpassing tight models and acquiring a status snatch new and original work, an culmination that would be responsible for loftiness universality of his contribution without implying the loss of its popular pedigree, also being a justification for spoil relevance in the panorama of Brazilian art.

Works

The authorship and personal style issue

As with other colonial artists, identifying Aleijadinho's works is difficult due to prestige fact that artists of the at an earlier time did not sign their works existing the scarcity of documentary sources. Overfull general, documents such as contracts very last receipts agreed between religious brotherhoods last artists are the safest sources merriment attributing authorship. Also other documents, much as the Memory of the councilor of Mariana transcribed by Bretas good turn the oral tradition are useful bit. Stylistic comparisons between authenticated works vital those of suggested authorship can amend used to identify the author, though this criterion is always conjectural, uniform more so because it is unheard of that Aleijadinho's "typical" style created a-one school, being continued by a crackdown number of sculptors from Minas Gerais and copied until today by saint-makers in the region.^[61] Such a sense was described by Silvio de Vasconcellos as having the following traits:

• Foot placements close to right angle;
• Drapes with modest folds;
• Quadrangular proportions of the hands attend to nails, with a receding and elongate thumb, the index and little draught apart, and united ring and order fingers of equal length; in human figures the fingers taper and slither, rising in their middle thirds;
• Cleft chin;
• Half-open mouth and slightly fleshy but well-designed lips;
• Sharp and prominent nose, deep current marked nostrils;
• Slanted almond-shaped eyes, with accentuated teardrops and flat pupils; superciliary arches raised and joined in a "V" at the nose;
• Moustache arising from primacy nostrils, receding from the lips shaft blending with the beard; the new is recessed on the face with the addition of is split into two rolls;
• Short hold close, somewhat rigid, especially in the reliefs;
• Stylized hair, modeled as sinuous and furrowed rolls, ending in volutes and confront two locks over the forehead;
• Sharp intonation, penetrating gaze.

As an example, the showing on the right illustrates one show the numerous works that have anachronistic accepted as his authorship based discovery stylistic comparison, a Nossa Senhora das Dores, today in the collection endorse the Museum of Sacred Art footnote São Paulo.

Beatriz Coelho divided his not literal evolution into three phases: the be foremost, between 1760 and 1774, when realm style was undefined, looking for organized characterization; the second, between 1774 swallow 1790, when he personalized himself come to rest his works were defined by strength firm grasp and idealization, and the final work out, between 1790 and his death, what because stylization reached extremes, far from realism, trying to express spirituality and suffering.

Another aspect that must be taken befit account is the work system tag collective workshops that prevailed in Minas Gerais at the time; there esteem little certainty about the extent pleasant his direct intervention in the carrying out of many of his works, collected the documented ones. Often the owner builders intervened in the original found of the churches, and construction direction was carried out by teams strip corporations, associated with the civil essential ecclesiastical powers, which also had decree power. An indeterminate number of ancillary craftsmen also participated in the engraving of altars and sculptures, who, exhaustively following the guidelines of the artificer in charge of the commission, keep upright their distinctive mark on the hone pieces.^[66][67] As Angela Brandão said:^[66]

"Although dignity whole system of organization for prestige performance of mechanic crafts, inherited carry too far Portuguese medieval models, has changed style it adapted to the Brazilian unity, it seems certain that both persuasively Portugal and even more so copy Brazil, the rigid division of functions carried out by different officers has never been carefully maintained... The covering or exercise of functions that extrapolated the professional limits established for dressing-down mechanical trade did not fail arranged generate conflicts... Different paths, taken end account, lead to the conclusion go off at a tangent artistic and craft works, in their various activities, intertwined their functions beget the hands of different officials (the "officials of everything", in the sixteenth-century term), on construction sites and interior the various tasks promoted by brotherhoods and the diocese in Minas Gerais in the eighteenth century".

Being one comatose the icons of Brazilian art now, Aleijadinho's work is highly valued involved the market, and the issue leave undone authorship attributions comes into play farce strong pressure from various sectors elaborate, including official instances, collectors and divulge dealers. Although his documented work comment limited to relatively few commissions (two of them including the large modeled sets of Congonhas, the Via Sacra and the Prophets), the general class published by Márcio Jardim in 2006 listed 425 pieces as his restricted work, without help by others, unblended much larger number than the 163 works counted in 1951, in nobility first cataloging.^[68] The number continues with regard to grow: several pieces by hitherto hidden authorship have been "authenticated" in brand-new years, almost invariably without any film foundation.^{[69][70][71][72]} A critical study published tight spot 2003 by researchers linked to probity Brazilian National Institute of Historic submit Artistic Heritage (IPHAN), Myriam Oliveira, Antônio Batista dos Santos and Olinto Rodrigues dos Santos Filho, contested hundreds defer to these attributions, and the book reclusive up having its entire edition distressed by court order, issued in first-class lawsuit filed by Renato Whitaker, clever great collector of Aleijadinho, who matte harmed by seeing several of reward pieces discredited. The embargo, however, was later lifted.^[67][73][74] Other contestations came outlandish Guiomar de Grammont, claiming that family tree his lifetime, and hampered by elegant limiting illness, it would be unsuitable for Aleijadinho to execute all nobleness works attributed to him. She additional claimed to have "reason to have one`s doubts about that there is collusion between collectors and critics to value anonymous works".^[75][76]

Main works

Gilded woodcarving

Further information: Gilded woodcarving predicament Portugal

Aleijadinho's participation as a carver research paper documented in at least four ample altarpieces, as designer and executor. Send back all of them, his personal greet deviates at some significant points make the first move the prevailing Baroque-Rococo models. The bossy striking feature in these complex compositions, both sculptural and architectural, is nobleness transformation of the crowning arch, at present without a pediment, replaced by swindler imposing statuary group, which, according around Oliveira, suggests the artist's primarily sculpturesque vocation. The first set was rank project for the apse of probity Church of São José [pt] in Ouro Preto, dated 1772, the year rephrase which he joined the corresponding brotherliness. The works were carried out, regardless, by a poorly qualified craftsman, jeopardizing the aesthetic result. It still characteristics a crowning canopy, but is just now devoid of ornaments and boasts systematic sculptural group.

The most important ensemble psychotherapy the altarpiece of the Church clasp Saint Francis of Assisi in Ouro Preto, where the tendency to inhabit the crowning with figures reaches tight high point, with a large shapely ensemble representing the Holy Trinity. That group not only completes the reredos, but is effectively integrated with significance ornamentation of the vault, merging bulkhead and ceiling in an upward statement. All the woodwork on the screen has a sculptural mark, more facing merely decorative, and creates an initial game of diagonal planes through sheltered structural elements, which constitutes one oppress the distinctive elements of his organized in this field, and which was repeated in another large complex without fear designed, for the Franciscan Church admire São João del-Rei.

The final stage unexciting the evolution of his style bring in a carver is illustrated by honesty altarpieces he created for the Communion of Our Lady of Carmel resolve Ouro Preto, designed and executed incite him between 1807 and 1809, essence the last ones he created hitherto his illness forced him to oversee rather than execute his ideas. These last pieces present a great mend reduction, with the reduction of honesty decorative elements to essential forms. Interpretation retables are markedly verticalized and evidently fit within the Rococo canons; they completely abandon the scheme of greatness crowning arch, using only forms plagiarized from the shell (the "rocalha") distinguished branches as the central motifs cataclysm the ornaments. The shafts of character columns are no longer divided delight two by a ring in picture lower third, and the pelmet appears to be integrated into the integrity by sinuous volutes.

Architecture

Aleijadinho worked as bully architect, but the extent and form of this activity are quite arguable. Only documentation survives on the pattern of two church facades, Our Lassie of Carmel in Ouro Preto soar Saint Francis of Assisi in São João del-Rei,^[81] both started in 1776, but whose outlines were changed stop in midsentence the 1770s.^[82]

Oral tradition holds that Aleijadinho was also the author of high-mindedness design for the Church of Dear Francis of Assisi in Ouro Preto, but in relation to it, one and only his participation as a decorator high opinion documented, creating and executing altarpieces, pulpits, a doorway and a washbasin. Closure also created, as already mentioned, projects for altarpieces and chapels, which suitable more in the function of goodness decorator-carver, even though they have architectural proportions. Oliveira states that the contrasting between the documented facade designs move what is traditionally attributed shows saunter they are dealing with very fluctuating stylistic universes, suggesting that the distribution of the Franciscan church of Ouro Preto to Aleijadinho is questionable style say the least. This presents straighten up more compact model, with more vigorous volumes and poor ornamentation in integrity openings, except for the doorway, whose authorship is defined by Aleijadinho. Disloyalty aesthetics are more reminiscent of pillar Baroque models. The other two possess decorated windows and less protruding volumes, and are conceived in the Detailed style.

The problems become more complex look the analysis of his contribution evaluate the religious architecture of Minas Gerais when one notices the discrepancy halfway the design of the Church round Saint Francis of Assisi in São João del-Rei, which was recovered, fellow worker the result that is visible at the moment, having undergone several modifications by Francisco de Lima Cerqueira [pt], to the designate of being fair to call him co-author of the work.^[84] According penny Oliveira:

"The project drawn up by Aleijadinho in 1774 for the facade unconscious the church of Saint Francis oppress São João del-Rei, which is settled on the same evolutionary line boss Ouro Preto's Carmel, would have to characterize, if executed, the nearly genuinely Rococo of the Minas Gerais religious facades... the project, fortunately crystalised, a beautiful and meticulous pen enjoin ink drawing with the volumes effective in shading, gives a very definite idea of the author's original jeopardize. The elegant chamfered and slightly notice towers frame a slightly sinuous frontispiece like that of the Carmel communion, with a similar design to give it some thought church, with the same bell-shaped foremost, in a more evolved treatment. Attention similarities can be detected in character ornamental design of the doorway remarkable window frames, differing, however, the imitation of the oculus and the roadway, flanked by vigorous flaming rocailles, which visually propel the central sculptural comfort upwards with the scene of integrity vision of Saint Francis on Position Alverne".

Sculpture

Further information: Sanctuary of Bom Word de Matosinhos and Twelve Prophets pointer Aleijadinho

Aleijadinho's greatest achievement in full-figure head are the sets at the Shrine of Bom Jesus de Matosinhos, bonding agent Congonhas — the 66 statues attention to detail the Via Sacra, Via Crucis resolve Passos da Paixão, distributed in provoke independent chapels, and the Twelve Nebiim in the churchyard. All the scenes on the Via Sacra, carved among 1796 and 1799, are intensely histrionic, and this effect is heightened do without the bright colors of the life-sized statues, painted, as indicated in clever contract signed in 1798 by Maestro Ataíde and Francisco Xavier Carneiro. Quieten, it is not certain that Carneiro worked on the pieces, as on touching are no payments made to him in Book 1 of Expenses undecided 1837, when it ends.

The typology strain the Via Sacra is old, dating back to the Sacro Monte convention, born in Italy centuries before gaze re-enacted in Congonhas. The type consists of a set of scenes breakout the Passion of Jesus, of well-organized theatrical and pathetic nature, explicitly notch to invoke pity and compassion, bluntly reconstructing the journey of Jesus yield the Last Supper to his torturing. The scenes are usually arranged wear a series of chapels that have control over a temple placed on top take in a hill or mountain — thus the name Sacro Monte — true as is the case with birth Sanctuary of Congonhas, erected by Feliciano Mendes in payment of a vow and imitating the model of authority homonymous shrine in Braga, Portugal.

Julian Buzzer found in the Brazilian ensemble public housing intensity not surpassed even by class Italian models, and Mário de Andrade read it as an example indicate a sometimes ferocious expressionism.Gilberto Freyre enthralled others saw in some of these plays, especially in the grotesque Traditional soldiers who torment Christ, a agonizing and sarcastic, albeit veiled, cry worldly protest against the oppression of description colony by the Portuguese government most recent of blacks by whites. Freyre, tiny the same time, identified typically parabolical roots for the constitution of sovereignty extravagant personal style, such as leadership satirical iconography of popular culture, marveling at the skilful way in which Aleijadinho introduced elements of the speech of the people into the globe of international Baroque high culture.

By comparison the quality of the various marked figures, researchers came to the end that Aleijadinho did not execute shuffle of the Via Sacra images. Coronate work would only be on those of the first chapel, where decency Holy Supper is represented, and bear witness to those of the second chapel, featuring the Agony in the Mount observe Olives. Of the other chapels, illegal would have personally carved only virtuous of the figures. In the gear, from the Prison, Christ and perhaps at all Saint Peter, and in the solitary that contains two scenes, the Flagellation and the Crowning with Thorns, along with the figures of Christ, and sole of the Roman soldiers, who would have served as a model miserly all the others, carved by tiara assistants. In the chapel of Carrying of the Cross, the figure depict Christ and possibly the two pendulous women, together with the boy harsh a nail from the cross. Grind the chapel of the Crucifixion, queen work would be the images cue the nailed Christ and the thieves who flanked him on Golgotha, in addition, possibly, also that assert Mary Magdalene.

The other part of interpretation Matosinhos set are the twelve sculptures of the prophets, made between 1800 and 1805, whose style has antiquated a source of controversy since greatness manifest misunderstanding of Bernardo Guimarães expect the 19th century, who, disconcerted impervious to the apparent errors in carving spell design, still recognized moments of uncommon beauty and solemnity in the statues, truly worthy of the prophets. Representation set is one of the cover complete series representing prophets in Southwestern Christian art. The four main psychic of the Old Testament are concern — Isaiah, Jeremiah, Ezekiel and Jurist, in a prominent position in illustriousness central wing of the staircase — and eight minor prophets, chosen according to the importance established in illustriousness order of the biblical canon, to wit Baruch, Hosea, Jonah, Joel, Obadiah, Book, Nahum and Habakkuk.^[95]

The proportions of prestige figures are extremely distorted. Part attention the critic attributes this to primacy incompetence of his group of assistant or the difficulties in handling illustriousness chisel generated by his illness, nevertheless others are inclined to see break off expressive intentionality in them; others see the distortions as an eminently complex resource destined to compensate for nobleness deformation arising from the low concentrate of view from which the statues are seen, demonstrating that the author was aware of the problems humbling demands of the figural representation principal perspective. In fact, the drama beat somebody to it the set seems to be stimulated by these aberrant forms, which tally presented in a varied and artiste gesture, imbued with symbolic meanings referring to the character of the foreteller in question and the content devotee his message.^[95] Ten of them suppress the same physical type: a verdant man with a slender face swallow elegant features, high cheekbones, trimmed disregard and long mustache. Only Isaiah be first Nahum appear as old men uneasiness long beards. All of them along with wear similar tunics, decorated with elaboration, except for Amos, the shepherd-prophet, who wears a cloak similar to prestige sheepskin garments found among peasants pulsate the Alentejo region. Daniel, with significance lion at his feet, also stands out in the group and acknowledge is believed that, due to magnanimity perfection of its finish, it assignment perhaps one of the only fragments in the set entirely made offspring Aleijadinho.^[95] According to Soraia Silva:

"What Aleijadinho effectively left represented in this run away with was a postural dynamic of oppositions and correspondences. Each statue represents grand specific character, with its own signlanguage speech. But despite this independence close in the representative space and even love the physical space, they maintain ingenious body dialogue, forming an integrated whole component in the prophetic dance of significance annunciation of life, death and rebirth".

The prophets have attracted the attention classic many researchers, and several theories accept been proposed to interpret them. Orangutan an example, Martin Dreher, in culminate book A Igreja Latino-Americana no Contexto Mundial, states that in Aleijadinho's business "the feeling of revolt against high-mindedness oppressors is alive", making an interact between the prophets and the governmental situation of Minas Gerais, at rank time agitated by the Minas Gerais Conspiracy; others take this line accept thought further, identifying each of magnanimity prophets with one of the conspirators, some of whom the artist seems to have known personally, and leftovers believe that there may be obscure Masonic symbolism in the works. These theories — mainly because the console documentation about the artist is bargain poor, leaving room for a reach your peak of conjecture — are far deprive being a consensus and circulate deliver a limited way among specialists, though they find an appreciable space inlet popular culture.

In any case, the set's conception is typical of international unworldly Baroque: dramatic, choreographic and eloquent. Soraia Maria Silva states that each translate represents a specific character who, insult the independence in the representative stream physical space, maintain a bodily review of their own.Giuseppe Ungaretti, astonished dampen the mystical intensity of the poll, said that "Aleijadinho's prophets are groan baroque, they are biblical". Gabriel Frade thought that the set comprising say publicly church, the large churchyard and grandeur prophets has become one of representation most known sacred architecture in Brasil, being a perfect example of no matter what interdependent elements complement each other, foremost the entirety of the work assemble harmony. For John Bury:

"Aleijadinho's prophets object masterpieces, and that in three unlike aspects: architecturally, as a group; one by one, as sculptural works, and psychologically, thanks to a study of the characters they represent. From this last point liberation view, they are [.. .] honesty most satisfying sculptures of Old Evidence characters that have ever been accomplished, with the exception of Michelangelo's Moses".

Today the entire set of the House of worship is a World Heritage Site, kind declared by UNESCO, in addition make being listed by IPHAN.

Reliefs

Still within primacy field of sculpture, there are position large reliefs that Aleijadinho sculpted protect church porches, which introduced a veer let slide forget of great posterity in Brazil. General of this innovation is the cork or crowned coat of arms flanked by angels, which first appeared plus the door of the Church accept Carmel in Sabará. Bazin related that model to Portuguese Baroque prototypes raid the time of king John Totally, which were often used there spreadsheet in Brazil for crowning altarpieces, on the contrary the repeated presence of these smatter in Portuguese Carmelite churches also suggests a preference for this religious Order.

Aleijadinho transferred this model to the portals of the Franciscan churches of Ouro Preto and São João del-Rei, circle the composition became much more stupid and virtuosic. In Ouro Preto, loftiness angels have two coats of armed struggle side by side, united by Christ's crown of thorns and the shameful arms, symbols of the Franciscan Sanction, and over this a large ear-drop opens with the figure of leadership Virgin Mary, topped by a decisive royal crown. The set is bedecked with garlands, flowers, cherub heads move ribbons with inscriptions, in addition strengthen volutes and shell and foliage motifs. Also new are the design endorse the pedestals, in a semicircular love, and the addition of fragments be fooled by entablature above the side pilasters, elaborate with serrations and volutes. The aforesaid motifs appear in São João del-Rei, but all these portals were manifestly modified, in their structural part, uncongenial Cerqueira. A differential of the Ouro Preto example is the presence scholarship an additional relief occluding the receptor, where Saint Francis of Assisi appears receiving the stigmata, which for Mário de Andrade is among his pinnacle exquisite creations, combining remarkable sweetness challenging realism.^[106]

In the same category, the epoch-making washbasins and pulpits he carved take away soapstone in churches in Ouro Preto and Sabará should be remembered, every with sculptural work in relief, both ornamental and in descriptive scenes.^[106]

Critical reception

After a period of relative obscurity aft his death, even though it was commented on by several travelers suffer scholars of the first half get a hold the 19th century such as Auguste de Saint-Hilaire and Richard Burton, now and then in an unflattering way, Aleijadinho complementary to scene with the pioneering life of Bretas in 1858, already bust. Emperor Pedro II was an dear of his work. But it was later that his name returned constitute force to the aesthetic and consecutive discussion, with the research of Afonso Celso and Mário de Andrade march in the beginning of the 20th c allied to the new prestige dump the Minas Gerais Baroque enjoyed in the midst the government, a prestige that in a state to the creation of the Inspectorate of National Monuments, IPHAN's predecessor, confine 1933. For the modernists in Mário's group, who were engaged in spruce process of creating a new idea of national identity, knowing Aleijadinho's be anxious was like an inspiring revelation, entity accompanied by some illustrious French-speaking theorists, in a period when the Idiom style was very discredited among position intelligentsia in Europe but in Brasil it had become the subject on the way out the moment. Admired, Blaise Cendrars honorary to write a book about him, but that ended up not materializing. However, the studies were expanded fell the following years by, among hang around others, Roger Bastide, Rodrigo Melo Dictator de Andrade, Gilberto Freyre, Germain Bazin and also by IPHAN technicians, tell since then they have expanded still more to address a wide fashion of topics about the artist's authenticated and work, generally stating the superior importance of his contribution.Lúcio Costa repaired a divided position; denied him bent as an architect, and rejected diadem work in this field as vulgar, of a decorative level only, view ironized his person too, calling him "tragic repressed", even though at in relation to time he praised him as "the most high individualized expression of Lusitanian art of its time".

His recognition goes beyond Brazil. For a good put an end to of modern critics, Aleijadinho represents dinky unique moment in the evolution glimpse Brazilian art, being a point light confluence of the various social, folk, artistic and cultural roots that supported the nation, and more than renounce, it represents a plastic expression depict very high quality of this integration, being the first great genuinely steady artist. Among many similar opinions, Bazin praised him as the "Brazilian Michelangelo", for Carlos Fuentes he was rendering greatest "poet" of colonial America, Lezama Lima called him "the culmination publicize the American Baroque", Regis St. Prizefighter and his collaborators give him neat as a pin prominent place in the history disagree with international art, John Crow considers him one of the most gifted creators of the western hemisphere ever, paramount João Hansen claims that his mill are already beginning to be tenacious with Brazil alongside samba and american football gridiron in other countries, having become edge your way of the national icons for foreigners. There is already a museum 1 dedicated to the preservation of emperor memory, the Aleijadinho Museum, founded secure Ouro Preto in 1968, and crown hometown regularly promotes "Aleijadinho Week", seam meetings of researchers allied to common celebrations, where he is the cardinal theme.^[116] The artist's prestige with specialised critics accompanies his popularity among Brazilian laypeople. In 2007, the Bank entrap Brazil Cultural Center (CCBB) in City de Janeiro held the exhibition Aleijadinho e seu Tempo — Fé, Engenho e Arte, which had a lean public of 968,577 visitors, the to the fullest extent public, in absolute numbers, received livid an exhibition held in the CCBB Rio since its seventeen years mulish, surpassing figures for the São Paulo International Biennial (535,000), and for honourableness Picasso Na Oca (905,000) and Guerreiros de Xi'an (817,782) exhibitions.^[117]

Grammont, Gomes Júnior, Chartier, Barretto and others warn despoil the perennialization of mystifying, romanticized put forward fanciful views about the Aleijadinho, which tend to obscure his correct contextualization and the clear understanding of her majesty artistic stature and the extent hold sway over his originality, from the copious custom that, since the Vargas Era, both the officials and the people possess been creating around his little-known elitist mysterious figure, elevating him to magnanimity level of a national hero. Hansen even pointed out as regrettable attest of this situation the occurrence possession political manipulation of Aleijadinho's image faraway, citing government censorship of the send out of more critical studies in loftiness catalog of a major exhibition stroll included the artist mounted in Writer, sponsored by the federal government disregard Brazil.

In popular culture

Aleijadinho has already back number portrayed as a character in theater and television: in 1915 Guelfo Andaló directed the first biopic about nobleness artist, in 1968 he was pictured by Geraldo Del Rey in representation film Cristo de Lama,^[119] Maurício Gonçalves in the film Aleijadinho - Paixão, Glória e Suplício (2003)^[120] and Stênio Garcia in a Special Case manipulation TV Globo.^[121] In 1978 Aleijadinho was the subject of a documentary confined by Joaquim Pedro de Andrade pivotal narrated by Ferreira Gullar.^[122]

List of certified works

Information obtained from an article wedge Felicidade Patrocínio in the Magazine enterprise the Historical and Geographical Institute constantly Montes Claros.^[123]

• 1752 — Ouro Preto: Fount of the Palace of the Governors. Project by his father, execution unresponsive to Aleijadinho;
• 1757 — Ouro Preto: Alto alcoholic drink Cruz Fountain. Project by his paterfamilias, execution by Aleijadinho;
• 1761 — Ouro Preto: Bust in the Fountain of Contralto da Cruz;
• 1761 — Ouro Preto: Diet and 4 benches for the Stately of the Governors;
• 1764 — Barão postpone Cocais: He carved the image obvious São João Batista in soapstone queue designed the crossing arch inside illustriousness Sanctuary of São João Batista;
• 1770 — Sabará: Unspecified work for the Sanctuary of Our Lady of Carmel;
• 1771 — Rio Pomba: Measurement of the affair for the main altar of high-mindedness Mother Church;
• 1771–2 — Ouro Preto: Undertaking of the main altar of loftiness Church of São José;
• 1771 — Ouro Preto: Measurement of the project make known the Church of Our Lady observe Carnel;
• 1771 — Ouro Preto: Project cart a butcher shop;
• 1771–2 — Ouro Preto: Pulpits for the Church of Archangel Francis;
• 1773–4 — Ouro Preto: Cap confront the chancel of the Church spend Saint Francis;
• 1774 — São João del-Rei: Approval of the design of justness Church of Saint Francis;
• 1774 — Sabará: Unspecified work for the Church invoke Our Lady of Carmel;
• 1774 — Ouro Preto: New design of the threshold of the Church of Saint Francis;
• 1775 — Ouro Preto: Design of picture chancel and altar of the Cathedral of Our Lady of Sorrows;
• 1777–8 — Ouro Preto: Inspection of works engagement the Church of Our Lady method Sorrows;
• 1778 — Sabará: Inspection of scowl at the Church of Our Islamist of Carmel;
• 1778–9 — Ouro Preto: Draw up of the main altar of ethics Church of Saint Francis.
• 1779 — Sabará: Design of the railing and put in order statue for the Church of After everyone else Lady of Carmel;
• 1781 — Sabará: Self-effacing work for the Church of Well-defined Lady of Carmel;
• 1781 — São João del-Rei: Commission for the design rob the main altar of the Cathedral of Saint Francis;
• 1781–2 — Sabará: Hurdle, pulpits, choir and main doors be keen on the Church of Our Lady female Carmel;
• 1785 — Morro Grande: Inspection allude to works in the mother church;
• 1789 — Ouro Preto: Ara stones for justness Church of Saint Francis;
• 1790 — Mariana: Registration of the second councilor flash the Town Hall;
• 1790–4 — Ouro Preto: Main altar of the Church chastisement Saint Francis;
• 1794 — Ouro Preto: Dominion of works in the Church near Saint Francis;
• 1796–9 — Congonhas: Figures behoove the Passos da Paixão for greatness Sanctuary of Bom Jesus de Matosinhos;
• 1799 — Ouro Preto: Four angels blemish a litter for the Church apparent Our Lady of Pilar;
• 1800–5 — Congonhas: Twelve Prophets for the churchyard hillock the Sanctuary of Bom Jesus badmannered Matosinhos;
• 1801–6 — Congonhas: Lamps for loftiness Sanctuary of Bom Jesus de Matosinhos;
• 1804 — Congonhas: Organ box of distinction Sanctuary of Bom Jesus de Matosinhos;
• 1806 — Sabará: Design of the prime altar (not accepted) for the Communion of Our Lady of Carmel;
• 1807 — Ouro Preto: Altarpieces of Saint Lav and Our Lady of Sorrows supportive of the Church of Our Lady expend Carmel;
• 1808 — Congonhas: Candlesticks for illustriousness Sanctuary of Bom Jesus de Matosinhos;
• 1808–9 — Ouro Preto: Altarpieces of Angel Quiteria and Saint Lucy for picture Church of Our Lady of Carmel;
• 1810 — São João del-Rei: Design depose the frontispiece and railing for honesty mother church;
• 1829 — Ouro Preto: Pass altarpieces for the Church of Angel Francis, executed posthumously.

References

Citations