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A Obra Gráfica De Domingos António De Sequeira No Contexto Da Produção Europeia Do Seu Tempo

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A Obra Gráfica De Domingos António De Sequeira No Contexto Da Produção Europeia Do Seu Tempo UNIVERSIDADE DE LISBOA FACULDADE DE BELAS-ARTES A obra gráfica de Domingos António de Sequeira no contexto da produção europeia do seu tempo Alexandra Josefina Reis Gomes Markl DOUTORAMENTO EM BELAS-ARTES Especialidade de Desenho 2013 UNIVERSIDADE DE LISBOA FACULDADE DE BELAS-ARTES A obra gráfica de Domingos António de Sequeira no contexto da produção europeia do seu tempo Alexandra Josefina Reis Gomes Markl DOUTORAMENTO EM BELAS-ARTES Especialidade de Desenho Tese orientada pela Professora Doutora Luísa Arruda 2013 SI N O P S E Abordagem da obra gráfica de Domingos António de Sequeira (1768-1837), desenvolvida no ambiente da crescente importância que o Desenho conheceu internacionalmente a partir da segunda metade de setecentos. Oriundo de uma aprendizagem de tradição académica que tinha o Desenho como fundamento de toda a prática artística – as Artes do Desenho, como então eram designadas – na sua extensa obra gráfica repousa a multifacetada actividade que desenvolveu, da pintura à gravura, dos projectos para escultura ou ourivesaria aos diferentes objectos que concebeu, mas também uma vasta produção autónoma, destinada a satisfazer os múltiplos admiradores cativados pelas suas exímias aptidões. Num percurso através das diversas fases da actividade, repartidas no tempo, cada uma das quais dominada por um género a que mais se dedicou, aborda-se a evolução que teve a sua prática do desenho, enquadrada em diferentes aspectos da cultura de fim de século, de que foi herdeiro. Treinado em Roma, nas décadas de 1780-90 como pintor de história e figura, o ambiente da cidade, onde a cultura neoclássica se mesclava com a tradição da arte italiana, foi essencial para a definição da sua personalidade artística. Após o regresso ao país, assistimos a uma progressiva autonomização do seu pensamento e actividade, no sentido de uma aplicação mais livre e pessoal das linguagens gráficas que o conduzem a uma proximidade do romantismo emergente, de que se abeira nos últimos anos de produção. Na sua faceta de desenhador, mais que na pintura, encontramos a sua posição no seio dos debates que estavam a ser travados na época. Palavras-chave: Sequeira Desenho Academismo Neoclassicismo Romantismo SY N O P S I S An approach to the graphic work of Domingos António de Sequeira (1768-1837), developed during the second half of the eighteen and early nineteen centuries in an ambience of an increasing importance internationaly held by Drawing. Coming from a tradition of academic apprenticeship which had Drawing as the foundation of all artistic practice – the ‘Arts of Drawing’, as they were then designated - in his extensive graphic work lies the multifaceted activity that he developed: painting, prints, projects for statuary, goldsmith work or different objects that he conceived, but also a vast autonomous production, executed to satisfy the multiple admirers captivated by his masterly aptitudes. A quest through the various phases of the activity, developed over time, each one of which dominated by a genre to which he most devoted, allows us to understand the development assumed by his practice of drawing, framed in different aspects of culture from the end of the century, of which he was an heir. Trained in Rome during the decades of 1780-90 as a painter of history, the unique ambience of this city, where the neoclassical culture was mixed with the tradition of Italian art, was essential for the definition of his artistic personality. After he returned to the country, we witnessed a progressive autonomy of his ideas and activity, towards a more free and personal appliance of graphical languages that lead him to the proximity of the emerging romanticism, of wich he approached in the last years of production. In his role of draftmen, more than in painting, we found his position within the debates that were taking place in his time. Key-words: Sequeira Drawing Academicism Neoclassicism Romanticism Á memória de meu marido Dagoberto Markl A meus Pais AG R A D E C I M E N TO S Trabalhos desta natureza não se fazem sem se poder contar com múltiplos apoios, felizes encontros, sólidas cumplicidades e amizades. Começo por expressar o meu agradecimentos ao Prof. Doutor João Brigola, antigo director do IMC, instituição em que me encontro profissionalmente integrada e aos directores do MNAA, Dr. Paulo Henriques e Prof. Doutor António Filipe Pimentel pela concessão de condições especiais para a realização desta tese com que pude contar, desde logo a equiparação a bolseira com dispensa integral de funções durante dezoito meses. Não sendo canónico fazer-se público agradecimento ao orientador da tese, não quero deixar de expressar o reconhecimento à Profª Doutora Luísa Arruda pela aceitação da orientação durante o último ano, nas difíceis circunstâncias que decorreram do falecimento repentino e inesperado do Prof. Doutor José Fernandes Pereira. Também a todos aqueles a quem sou devedora em múltiplas circunstâncias: na localização e no acesso à obra gráfica de Domingos Sequeira, começando pela referência à memória da Drª Maria Alice Beaumont e a Maria da Trindade Mexia Alves que, muitos anos à frente do Gabinete de Desenhos e Gravuras do MNAA, organizaram um arquivo fotográfico das obras de Sequeira em colecções públicas e privadas em que inicialmente me baseei e que pude ampliar. Nas notícias de obras que muitos me iam fazendo chegar mas igualmente nas conversas, trocas de opinião e achegas de muitos colegas e amigos. Desde logo uma referência especial ao Dr. Anísio Franco e Dra. Celina Bastos; mas, igualmente, a José Alberto Seabra, Joaquim de Oliveira Caetano, Luísa Penalva e Rui Tr i n d a d e . Agradecimentos aos que, em variadíssimas instituições, me permitiram o acesso às obras de Sequeira, imagens ou documentação: Angela Cipriani, do Arquivo da Accademia de San Luca; Dr. Francisco de Almeida Dias, do Arquivo do Instituto de Santo António, de Roma; Ana Navarro Vicente, do Gabinete de Estampas da Biblioteca Nacional de Madrid, José Manuel Matilla e Gloria Solache, do Gabinete de Desenhos do Museu do Prado; Maria José Arbués, do Museo de Huesca; ao galerista e historiador de arte José de la Mano, de Madrid. Igualmente a muitos que em variadíssimas instituições portuguesas permitiram o acesso às obras e, sobretudo, à obtenção de imagens: Dra. Maria João de Vasconcelos e Dra. Elisa Soares (Museu Nacional de Soares dos Reis); Profª Doutora Lúcia de Almeida Matos (responsável pela colecção de desenhos da Faculdade de Belas Artes do Porto); Dra. Virgínia Gomes (Museu Nacional de Machado de Castro); Dr. José da Costa Reis (Museu dos Biscainhos); Dr. Sérgio Gorjão (M. Grão Vasco); Dra. Isabel Silveira Godinho e Dr. João Vaz (Palácio da Ajuda); Dr. Amaral Cabral (Fundação da Casa de Bragança); Dra. Maria de Jesus Monge (Palácio de Vila Viçosa); Dra. Conceição Amaral (Museu de Artes Decorativas da FRESS); Dra. Ana Barata (Biblioteca Gulbenkian). A muitos particulares que me permitiram ver desenhos de Sequeira de sua propriedade. Uma palavra muito especial a todos os que foram contribuindo com achegas várias mas imprescindíveis ao longo das diversas fases em que se desenvolveu o trabalho: Prof. Doutora Aline Galash-Hall, Prof. Doutora Foteini Vlachou, Dra. Giulia Rossi Vairo, Dra. Patrícia Telles, Prof. Doutor Filipe Delfim Santos, Dr. Francisco Ribeiro Soares. Agradecimentos são igualmente devidos à Dra. Francisca Figueira por me ter permitido o acesso às fotografias do arquivo da Divisão de Gráficos, do Instituto José de Figueiredo e a Tânia Olim às do arquivo da Divisão de Documentação Fotográfica da Direcção- Geral do Património Cultural. Sou devedora e grata, pelos apoios técnicos, aos meus colegas do museu Dr. Ramiro Gonçalves e Rui Mestre. Por último, uma palavra de especial a todos os que mais directamente me apoiaram, a começar pela Família e Amigos, nos anos e circunstâncias difíceis em que esta tese decorreu. E a meu irmão, Pedro Reis Gomes, que fez a paginação destes volumes. ÍN D I C E Vo l u m e 1 Introdução 10 Capítulo 1 Sequeira e a historiografia. O estado da questão do ponto de vista do desenho 13 Capítulo 2 O Desenho no centro do ensino artístico. Período de estudo inicial em Portugal 52 Capítulo 3 Roma, cidade de encontros. O período da primeira estadia romana (1788-1795) 72 3.a. O clima cultural e artístico da cidade por altura da chegada de Sequeira, em 1788 74 3.b. O período da aprendizagem 87 3.c. O embaixador D. Alexandre de Sousa Holstein, a reabertura da Academia Portuguesa de Roma e o papel de Giovanni Gherardo De Rossi 102 3.d. A admissão como Académico e a actividade como professor (1793-1795) 112 Capítulo 4 O regresso a Portugal (1795 – 1801) 116 4.a. O período de estadia em Laveiras. A produção de temas religiosos entre 1790 e 1820 124 Capítulo 5 De pintor de Câmara e Corte a 1808 135 5.a. As viagens e os desenhos dos álbuns (1807-1808) 148 Capítulo 6 Da saída da prisão à Revolução de 1820 (1809-1820) 154 Capítulo 7 1820-1823: o artista reconhecido 175 Capítulo 8 Paris e Roma: 1823-1834 197 8.a. O período de Paris (1823-26) 198 8.b. O período final em Roma: 1825-1833 206 8.c. A produção final de Sequeira 212 Conclusão 223 Bibliografia 227 Vo l u m e 2 Documentos x Cronologia da vida e obra de Domingos Sequeira x Imagens x IN T R O D U Ç Ã O Esta tese visa o estudo e interpretação da obra gráfica de Domingos Sequeira, cerne da sua actividade artística. Embora reputada como a faceta mais significativa e original do conjunto da sua multifacetada obra, os trabalhos gráficos foram quase sempre abordados como subsidiários da actividade de pintor. Percurso sem paralelo, no contexto da arte portuguesa, intentámos uma nova abordagem, alargando o campo de inquirição, inserindo-o no contexto da arte europeia do seu tempo, em especial das ideias e práticas do desenho no seu tempo, a que foi buscar o norte.
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