Made available in DSpace on 2016-04-25T19:20:28Z (GMT). No. of bitstreams: 1 Wilma Steagall De Tommaso.pdf: 11852530 bytes, checksum: 6ad9ae7d6caf7eaff4cb2588b5c83eff (MD5) Previous issue date: 2013-06-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research explores the Pantocrator, the depiction of Christ in Glory relatively unkown in Brazil, where the barroque is the most common art religious and portrays Jesus crucified. Claudio Pastro is a Brazilian artist who has for over thirty years placed the Christ Pantocrator as a central theme in the churches he designs. The starting point was a series of interviews with the author on his background, influence and motivation towards Pantocrators. This study searched for the image of Jesus, God of the Christians and the only to be portrayed among the Abrahamic religions, although not without controversy. Later it studies the Majestas Domini, the Pantocrator from the west with major influence in the artist, achieving the representation of God with religious and political implications throughout the centuries to finally achieve contemporaneity with movements of modern art and the occurrences before and after the Second Vatican Council. The objective is to understand the meaning of the Pantocrator image in the Brazilian churches as well as the reasons why an art style from the first century reappears today / Esta pesquisa aborda o Pantocrator, a imagem do Cristo em Glória. Relativamente desconhecida no Brasil, país onde o barroco é a arte religiosa mais característica, esta imagem é tema central na obra de Claudio Pastro, artista plástico brasileiro, que há mais de trinta anos coloca, nas igrejas que projeta, o Cristo Pantocrator, cujo tipo simbólico se diferencia da arte naturalista do barroco que, por tradição, destaca o Cristo crucificado. A partir de uma série de entrevistas concedidas pelo artista, nas quais falou sobre sua formação, influências que marcam sua obra e sua motivação para fazer Pantocrators, este trabalho buscou a origem da imagem de Jesus, Deus dos cristãos, e também o único a ser retratado dentre as religiões Abrâmicas, não sem controvérsias, encontrando o Majestas Domini, o tipo Pantocrator do Ocidente medieval, influência significativa para o artista, chegando na representação de Deus, sua permissão e implicações religiosas e políticas ao longo de séculos, para finalmente alcançar a contemporaneidade, com os movimentos de arte moderna e os acontecimentos pré e pós Concílio Vaticano II, com o objetivo de entender a coerência da imagem do Pantocrator nas igrejas do Brasil e, consequentemente, compreender as razões de o Pantocrator, um tipo característico da arte da Igreja do Primeiro Milênio, reaparecer nos dias de hoje

Made available in DSpace on 2016-12-23T13:46:04Z (GMT). No. of bitstreams: 1 Fuviane Galdino Moreira.pdf: 9460612 bytes, checksum: 0920b8aa973ea737cd337fa1be10f119 (MD5) Previous issue date: 2012-10-08 / Esta dissertação tem o intuito de analisar o estilo e as técnicas da talha no panejamento e nos cabelos das esculturas em madeira do Acervo de Arte Sacra do Museu Solar Monjardim do Estado do Espírito Santo. Em nossa monografia de conclusão de curso de graduação, havíamos analisado a policromia de uma grande série de esculturas desse acervo e avançado algumas hipóteses para a procedência dessas peças, que retomamos na presente dissertação. Para tanto, recorremos a Michel Lefftz, concordando com a ideia de que o estilo de uma escultura em muito depende das imposições da matéria e da técnica empregada. Tendo em vista a escassez de estudos a respeito da imaginária religiosa no Espírito Santo, esta pesquisa contribui para o preenchimento dessa lacuna, notadamente no que diz respeito às classificações técnicas e estilísticas das esculturas, tornando o acervo em questão mais conhecido não só no cenário estadual, mas também nacional, com reflexos positivos para sua preservação / This dissertation aims to analyze the style and techniques of drape and hair carving of some wood sculptures belonging to the Collections of Sacred Art of the Monjardim Solar Museum of Espírito Santo. In our Graduation, thesis we analyzed the polychromy of these sculptures of this collection and thus advanced some hypotheses for their origin, that we take in consideration again and reexamine now. We agree with Michel Lefftz, that the style of a sculpture is much influenced by its material and technique. Given the scarcity of studies about the religious imagery in the Espírito Santo, this research contributes to filling this gap, especially with regard to technical and stylistic classification of these sculptures, with positive consequences for their preservation

S’appuyant sur la petite structure créée à Pau, en 1862, les Mauméjean, père et fils, réussirent à développer une véritable firme internationale - basée en France (Paris, Hendaye) et en Espagne (Madrid, Barcelone, Saint-Sébastien) - qui, durant près d’un siècle, travailla à l’ornementation d’un nombre considérable d’édifices civils et religieux disséminés dans plus de vingt-cinq pays. Récompensé lors de l’Exposition des Arts Décoratifs et Industriels Modernes de 1925, leur travail fut pourtant, dès les années 1950, décrié, dévalorisé : pour répondre aux critères de la « noble expression artistique » un maître verrier devait nécessairement produire peu, dans une petite structure, avec de petits moyens. L’incroyable quantité de verrières sorties des ateliers Mauméjean contribua à forger le mythe d’une production sérielle, dépourvue de toute valeur esthétique. Malgré de récents apports, les recherches menées dans le domaine du vitrail semblent profondément marquées par cette traditionnelle opposition entre fabrication à grande échelle et artisanat. S’appuyant sur un large catalogue d’œuvres conservées en France, en Espagne ou aux États-Unis, ainsi que sur l’analyse d’un très riche fonds d’atelier, cette étude se propose d’interroger ces modèles de production, tout en réévaluant l’apport artistique d’une manufacture qui, offrant un remarquable exemple de réussite, participa activement au renouveau des arts industriels franco espagnols. / The Mauméjean family, father and sons, managed to develop a real international firm, from the small business they created in Pau, in 1862. For almost a century, this international firm, based in France (Paris and Hendaye) and Spain (Madrid, Barcelona and Saint-Sébastien), worked on the ornamentation of a significant number of both civil and religious edifices, scattered over more than twenty-five countries. Though their work was rewarded during the 1925 Exhibition of Decorative and Modern Industrial Arts, it was also disparaged and depreciated, as early as the 1950’s. Indeed, to meet the criteria of the “noble artistic expression”, a master glazier had to produce small quantities, in a small structure, and with little resources. The incredible quantity of windows realised by the Maumejeans’ workshop contributed to the creation of the myth of a mass production, devoid of aesthetic value. In spite of new contributions, researches made in the field of stained-glass windows seem to be marked by this traditional opposition between mass production and craft production. Relying on a large catalogue of works kept in France, Spain, or even in the USA, as relying on the analysis of a very extensive workshop collection, this study offers to question these models of production, reappraising the new artistic dimension brought by a manufacture which, giving a remarkable example of success, actively took part in the revival of the Franco-Spanish industrial arts.

Made available in DSpace on 2016-03-15T19:42:29Z (GMT). No. of bitstreams: 1 Egidio Shizuo Toda.pdf: 3699419 bytes, checksum: 1d7c07fc160109f621d6f57841d58978 (MD5) Previous issue date: 2013-08-05 / Banco Santander S.A. / This paper discusses the importance of the work of art in the environment sacrum, as relevant instrument of religious education inside the Basilica of Our Lady of Aparecida, the largest Catholic church in Brazil and the second largest in the world. It is the study of the process of communication and media by the artist Claudio Pastro, responsible for the implementation of the Basilica´s sacred art and visual, to reach the general public nowadays. On how the artist creates this aesthetic communication, linking all parts of this building with monumental dimension by imposing its unique and current style. With a language developed in studies abroad and influences in the past, the artist seeks in the sacred art the teachings of the liturgy, and reaches people of all ages, social classes and culture. The analysis of the work - The Sacrificial Lamb , is supported by specialists of art and religious art,. allowing to deduce which proposed the artist and with which profundity he is involved in the mystery of the sacred. / O presente trabalho aborda a importância da obra de arte no ambiente sacro, como relevante instrumento de educação religiosa no interior da Basílica de Nossa Senhora de Aparecida, o maior templo católico do Brasil e o segundo maior do mundo. Trata-se do estudo sobre processo de comunicação e mídia do artista Cláudio Pastro, responsável pela execução da arte sacra e visual da Basílica, para atingir o grande público na contemporaneidade. Como o artista cria esta comunicação estética, unindo todas as partes deste edifício de dimensão monumental, impondo seu estilo único e atual. Com uma linguagem desenvolvida em estudos no exterior e influências no passado, o artista busca na arte sacra os ensinamentos da liturgia e atinge povos de todas as idades, classes sociais e cultura. A análise de uma obra O Cordeiro Imolado , está apoiada por estudiosos de arte e arte religiosa, permitindo depreender a que se propôs o artista e com que profundidade se envolve no mistério do sagrado.

Modern religious architecture is studied and understood inadequately, partly because modernity has been considered antithetical to religious practice and belief, and partly because studies of modern religious architecture have typically sidelined its distinctively religious aspects. Furthermore, would-be interpreters have lacked an adequate interpretive framework for the modern and religious identities that together characterize modern religious architecture. Thus, the problem is rooted both in history and theory: the solution requires 1) an interdisciplinary approach to the historical context of modernity that can properly situate such buildings in architectural and religious terms, and 2) a hermeneutic that is sufficiently rich to address the religious content, yet fluid and modest enough to be fruitful even from outside such theology-laden contexts. As identity is largely a matter of mainstream practice, the historical setting for this research is a significant but non-experimental context: post-WWII Rome. This period is marked by both a multifaceted identity crisis with distinctive political, architectural and theological aspects, and the Second Vatican Council (1962-65) that marked a shift in Catholicism’s attitude towards modernity. The chief interpretive concept offering sufficient richness and fluidity to address modern religious architecture is mediation, relevant to both religious identity (especially on beauty and sacrament) and the identity of modern architecture (especially on ornament). The main interlocutors here are Hans Urs von Balthasar (1905-88), Karsten Harries (1937-), Oleg Grabar (1929-), and Jacques Maritain (1882-1973). The hermeneutic framework is forged and tested through formal and phenomenological analyses of four post-WWII Catholic churches in Rome that are exemplary of four modes of mediation: 1) San Giovanni Bosco (1952-59), by Gaetano Rapisardi: critique; 2) San Gregorio VII (1959-61), by Paniconi and Pediconi: updating; 3) San Policarpo (1960-67), by Giuseppe Nicolosi: retrieval; 4) Sancta Maria Mater Ecclesiae (1965-70), Luigi Moretti’s unbuilt “Chiesa del Concilio”: invention. These analyses also reveal four distinct forms of ornament — material, tectonic, geometric, and spatial — that are discernible largely through a reconsideration of ornament as defined primarily through its mediating function. The conclusion evaluates the fecundity of the hermeneutic and suggests possibilities for further research. / text

La période de l’entre-deux-guerres en France correspond à une phase de renaissance pour l’Art sacré. Après la loi de Séparation de 1905, l’Église dut se réorganiser, renouveler son message spirituel et inscrire concrètement son action au sein d’une société en mutation. La création d’ateliers d’art sacré et le lancement des Chantiers parisiens du cardinal Verdier, soutenus par plusieurs publications comme la revue de L’Art Sacré, insufflèrent une impulsion nouvelle à la production religieuse. Le diocèse de Bayonne participa pleinement à cet essor. Souscrivant, d’une manière originale et dynamique, à cette nouvelle configuration, il tenta d’y inclure les particularismes régionaux en faisant notamment apparaître les spécificités identitaires basque et béarnaise. L’action conjointe des évêques et des curés bâtisseurs, des architectes, des maîtres verriers et mosaïstes, des peintres, des sculpteurs ou même des orfèvres, témoigne de la réécriture de schémas anciens, voire conventionnels, au profit d’un art hésitant entre audaces et compromis. C’est en effet sous les bannières de la tradition et du renouveau, du régionalisme et de la modernité que se situe l’art sacré dans le diocèse de Bayonne. / The interwar years in France witnessed a revival of sacred Art. After the 1905 law on the separation of Church and State, the Church had to reorganize and renew its spiritual message and reposition its action in the context of a changing society. The creation of religious art workshops as well as the launching of the Parisian “Chantiers du Cardinal”, initiated by cardinal Verdier, supported by a number of reviews such as L’Art Sacré, gave a new impulse to the production of religious art. The diocese of Bayonne took a full part in this initiative. It was keen to contribute in original and dynamic ways to this new direction and tried to include regional elements and in particular features reflecting Basque and Bearnais identities. The joint work done by bishops and priests involved in building churches, architects, glassmakers and mosaic artists, painters, sculptors and even goldsmiths, shows how well-established and even conventional designs were revisited to produce an art which hesitated between daring innovation and compromise. Indeed, the sacred art of the diocese of Bayonne was marked by a mixture of tradition and renewal, regionalism and modernity.

Orientador: Jorge Sidney Coli Junior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-25T02:53:32Z (GMT). No. of bitstreams: 1 Barrantes_PaulaElizabethdeMaria_M.pdf: 24161820 bytes, checksum: 91cfc0e63d87ec1bc11e9539072250a2 (MD5) Previous issue date: 2014 / Resumo: A Catedral de Campinas é um templo com múltiplos usos e em seu espaço abriga o Museu Arquidiocesano de Campinas e o Museu da Irmandade do Santíssimo Sacramento. Tanto a Catedral como ambos os museus apresentam vários problemas relacionados à identificação de seu acervo, sendo a grande maioria das obras com procedência desconhecida. O objetivo desta pesquisa foi o de catalogar o acervo da Catedral Metropolitana Nossa Senhora da Conceição de Campinas, de 1840 à 1923, abrangendo imagens sacras, pinturas, detalhes arquitetônicos e a obra de talha. Foi possível rastrear e catalogar todo o acervo através de documentos primários e comparações iconográficas. Percebeu-se que, quanto à catalogação de imagens, a correta amplitude da pesquisa deveria partir de 1774 à 1923, uma vez que enquanto a Matriz Nova era construída, formava-se o acervo de imagens na Matriz Velha, mas com a consciência exata de que o acervo seria passado à nova matriz após sua inauguração. Foi possível também descobrir a autoria e o histórico das pinturas originais presentes na inauguração do templo em 1883, bem como descobrir o histórico e a autoria dos evangelistas e apóstolos da fachada, informações inéditas até o momento. Foram desvendadas a origem das estátuas externas do templo e a pesquisa em fontes primárias inéditas possibilitou encontrar equívocos na descrição do atual catálogo do acervo. A pesquisa da obra de talha, encontrou informações que fazem possível hoje, atribuir à quatro entalhadores o conjunto total da talha: Vitoriano dos Anjos, Bernardino de Sena, Raffaelo de Rosa e Marino Del Favero, os dois últimos italianos. Também foi possível atribuir obras a cada um, cuja autoria, até o momento, era desconhecida. Em sua abrangência, a pesquisa possibilitou desvendar o histórico das fachadas do templo e elucidar diversos acontecimentos como os acidentes durante o período de construção, os arquitetos participantes bem como suas contribuições ao templo, sistemas construtivos e materiais utilizados. Dentro ainda da arquitetura, também descobriu-se todos os elementos modificados e construídos na reforma de 1923. Além do catálogo das obras e da arquitetura, como complemento, foi criado um dicionário de todos os artistas que participaram do acervo, com informações biográficas. Esta catalogação deve servir então à duas propostas, como fonte de pesquisa acadêmica e como utilidade prática no uso diário do acervo. Como conclusão, percebe-se que a história da construção do templo e do acervo é muito mais rica, cheia de detalhes e acontecimentos do que até então se conhecia, fazendo desta pesquisa uma referencia para futuros trabalhos relacionados ao seu acervo e sua história / Abstract: The Catedral Metropolitana de Campinas is a religious temple that houses the Museu Arquediocesano de Campinas and the Museu da Irmandade do Santíssimo Sacramento. Both museums and the Cathedral, present several problems regarding the correct identification of its art collection, with most of the art work of unknown origin. The objective of this research was to catalog the collection of the Catedral Metropolitana Nossa Senhora da Conceição de Campinas from 1840 to 1923. The collection includes sacred images, paintings, architectural details and carving works. This research made possible to trace and catalog the entire collection of the period thru analysis of primary documents and iconographic comparison. Regarding the image collection, the real amplitude of the research should comprehend the period from 1774 to 1923. As the New Church was being built, the collection of images was being formed at the Old Church, but with the certain that the collection would be transferred to the new site after its inauguration. It was also possible to discover the authorship and the history of the original paintings present at the inauguration of the temple in 1883, as well as the authorship and history of the Evangelists and Apostles statues at the façade. The origin of the external statues of the temple was unveiled and the research on unprecedented primary sources made possible to find misconceptions at the description of the current catalog of the collection. The research of the carving works revealed information that contributed to attribute four woodworkers to the whole carving work at the church: Vitoriano dos Anjos, Bernardino de Sena, Raffaelo de Rosa and Marino Del Favero, the last two Italians. It was also possible to attribute to each one, other artworks, which the authorship was unknown until now. Due to the wide scope of the research, it was possible to unveil the history of the façade construction and to elucidate many of the related events such as the accidents, the architects and their contribution on the project and construction of the temple as well as constructive systems and used materials. Still in the architecture scope, it was disclosed all the modified and built elements at the renovation in 1923. Aside the catalog of the collection, as a complement, it was created a dictionary of all the participating artists of the collection with bio info. The cataloging of the collection intend to attend two distinct proposes, as an academic resource and as a daily reference for the museums. In order to come to a conclusion, one can easily realize that the history of the construction of the temple and the gathering of its collection is far richer than could be imagined making this research a starting point and a solid anchor for future researches / Mestrado / Historia da Arte / Mestra em História

Orientador: Luciano Migliaccio / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-20T23:40:35Z (GMT). No. of bitstreams: 1 Ambrosio_ElianaRibeiro_D.pdf: 24340410 bytes, checksum: 8d3c2d1be0c727c881c0c71737d5b3f7 (MD5) Previous issue date: 2012 / Resumo: A pesquisa partiu da análise documental do Presépio Napolitano pertencente ao Museu de Arte Sacra de São para estudar as questões cenográficas envolvidas nesta tipologia presepial. Inicialmente, foi realizada uma revisão dos aspectos abordados na dissertação de mestrado intitulada Presépio Napolitano do Museu de Arte Sacra de São Paulo: percurso metodológico para a elaboração de um inventário científico, a qual contribuiu para o levantamento histórico da criação do Museu dos Presépios em São Paulo. A partir da problemática da exibição dos núcleos presepiais, a tese revisa a bibliografia sobre a tradição napolitana e se ocupa das questões cenográficas dos conjuntos napolitanos, de seus personagens característicos e de seus grupos cênicos para discutir as mudanças de gosto expográfico ao longo dos séculos. Ademais, o estudo abarca comparações de soluções cênicas entre os núcleos napolitanos e outras tipologias presepiais, bem como as soluções expografia nos diversos centros mundiais que possuem coleções napolitanas. Assim, uma das contribuições da tese é avaliação das condições atuais das cenografias existente nessas coloções e o levantamento das motivações de suas escolhas museográficas / Abstract: Based on the analysis of the documents about the Neapolitan crib that belongs to Museu de Arte Sacra de São Paulo, the research intended to study the scenographic issues involved in this kind of crib collection. Initially, we performed a review of the issues discussed in the dissertation entitled Neapolitan Crib of the Museum of Sacred Art in São Paulo: methodological approach for the development of a scientific survey, which contributed to record the historical aspects of the creation of the Museu dos Presépios in São Paulo. From the matter of the crib's collections displaying, the thesis reviews the literature on the Neapolitan, their typical figures and its scenic groups to discuss the exhibition changes throughout the centuries. Moreover, the study includes comparisons among Neapolitan crib's scenic solutions and other crib's type, as well as expography solutions from others centers that have Neapolitan collections around the world. Thus, one of the contributions of the thesis is evaluating the sceneries conditions of the current collections and the motivation of their museographic choices / Doutorado / Historia da Arte / Doutor em História

Max Ingrand (1908-1969) fut l'un des maîtres verriers français les plus célèbres du XXe siècle. Après ses études à l'École nationale des arts décoratifs, il entre en 1927 dans l'atelier de Jacques Gruber (1870-1936). Dès 1931, il commence une carrière personnelle de maître verrier décorateur et réalise de nombreux décors civils en glaces gravées. Il crée les vitraux de l'église Sainte-Agnès de Maisons-Alfort et participe au projet des verrières de la nef de Notre-Dame de Paris qui sont présentées au pavillon pontifical de l'Exposition de 1937. Mobilisé en 1939, il reste cinq ans prisonnier dans un Oflag en Allemagne. A son retour, il devient l'un des verriers les plus actifs des chantiers de la reconstruction où il réalise notamment l'ensemble monumental de l'église d'Yvetot. Le service des Monuments historiques lui confie des chantiers prestigieux : cathédrales de Rouen, de Beauvais, de Saint-Malo, de Strasbourg, chapelles des châteaux de Blois, d'Amboise, de Chenonceau, églises de La-Charité-sur-Loire et des Jacobins de Toulouse. Au milieu des années cinquante, sa notoriété lui vaut des commandes importantes à l'étranger, notamment aux États-Unis, au Canada et en Amérique du sud. Il poursuit parallèlement une œuvre de décorateur et de designer. Il assure pendant treize ans la direction artistique de la firme italienne Fontana-Arte pour laquelle il crée de nombreux modèles de luminaires. Il participe au décor de paquebots parmi lesquels le Normandie et le France. Il conçoit des fontaines lumineuses, notamment pour les Champs-Élysées à Paris. Dans ses dernières années, il réoriente sa carrière vers l'architecture d'intérieur et l'éclairage. Il meurt brutalement en 1969, peu après avoir confié la direction de son atelier à son collaborateur Michel Durand. / Max Ingrand (1908-1969) was one of the most famous French glassmakers in the twentieth century. He studied at the National School for Decorative Arts and joined Jacques Gruber’s studio (1870-1936) in 1927. He began his own career as a glass designer in 1931 and produced many engraved glass decorations, both in public and religious buildings. He created the stained glass windows of Saint-Agnes Church at Maisons-Alfort and took part in the project of the windows executed for the nave at Notre-Dame de Paris, which were first displayed inside the papal pavilion of the 1937 Exhibition. An officer in the French armed forces in 1939, he was made a prisoner and jailed for five years in a camp in Germany. When he returned home, he became one of the most active glassmakers in the whole country, being involved in the reconstruction effort and working, in particular, to the project of a monumental church in Yvetot (Normandy). He was part of prestigious projects led by the French Heritage in cathedrals (such as Rouen, Beauvais, Saint-Malo and Strasbourg), in castles (such as the chapels of Blois, Amboise, Chenonceau), in churches (such as La Charité-sur-Loire and the Jacobins in Toulouse). Due to his fame, he won a large amount of orders abroad in the mid-fifties, especially in the United States, in Canada and in South America. He acted at the same time as a decorator and a designer. He was, for instance, an art director for thirteen years at the Fontana Arte, a big design company in Italy, and created many lighting fixtures for them. Before and after World War II, he was involved in the decoration of liners as important as the Normandy and the France. He also designed lit fountains in public spaces, the best known being along the Champs-Élysées in Paris. He had to change career dramatically in his late years and stopped glassmaking. He then specialized in architectural design and lighting fixtures. He died suddenly in 1969, a few months after he had passed his workshop on to his associate Michel Durand.

Orientador: Luciano Migliaccio / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-06T14:32:40Z (GMT). No. of bitstreams: 1 Pereira_AndreLuizTavares_D.pdf: 16783528 bytes, checksum: 4a2b9bca695a2de3258393c69e2d0701 (MD5) Previous issue date: 2006 / Resumo: A presente tese analisa o papel das irmandades de clérigos seculares, na América portuguesa e em Portugal, como encomendadoras de obras artísticas ao longo do século XVIII. Procura-se demonstrar de que maneira organiza-se seu programa iconográfico até 1731 e como esse conjunto de imagens devocionais e pintura decorativa atende às necessidades político-ideológicas do clero português na seqüência imediata da criação do Patriarcado de Lisboa em 1716. Ainda, ressaltamos a ligação de membros dos altos setores da administração religiosa portuguesa com as referidas irmandades, lembrando o exemplo do primeiro patriarca de Lisboa, D. Tomás de Almeida, ligado intimamente aos quadros da Irmandade de clérigos do Porto. Apresentamos variado registro de imagens e análises cuidadosas do patrimônio artístico das irmandades portuguesas ¿ Porto, Amarante e Viana do Castelo ¿ e daquelas instaladas na América portuguesa ¿ Salvador, Recife e Mariana ¿ sublinhando a importância do programa de imagens patrocinado por estas agremiações, que interpretamos como manipulação político-teológica da iconografia da Autoridade Religiosa, opção oportuna durante os anos do reinado de D. João V e da organização da administrção eclesiástica na América Portuguesa ao longo do século XVIII / Doutorado / Historia da Arte / Doutor em História