Barroco Mineiromineiro

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Barroco Mineiromineiro BarrocoBarroco MineiroMineiro Prof. Percival Tirapeli, Instituto de Artes da UNESP Mapa da Estrada Real, por onde escoava o ouro encontrado pelos bandeirantes paulistas em 1692. O Caminho Velho iniciava NO Rio de Janeiro depois partia do porto de Parati pelo Estado de São Paulo passando por São João del Rei até Ouro Preto. O Caminho Novo iniciava no Rio de Janeiro passando por Juiz de Fora até Ouro Preto. O Caminho do Diamante ia do Rio de Janeiro passando por Ouro Preto, Serro até Diamantina. Adro da Igreja do Bom Jesus de Matosinhos. Congonhas/ MG. Séc. XVIII – XIX. Profeta Jeremias. 1802/05 Adro da Igreja do Bom Jesus de Matosinhos. Aleijadinho. Congonhas/MG. Profeta Daniel Adro da Igreja do Bom Jesus de Matosinhos. Aleijadinho. Congonhas/MG. Profeta Habacuc. Igreja do Bom Jesus de Matosinhos. Congonhas/MG. Profeta Jonas. Igreja do Bom Jesus de Matosinhos. Congonhas/MG. Passo da ceia. Madeira policromada por Mestre Ataíde. Aleijadinho. Congonhas/ MG. 1795/09. Anjo da Amargura. Passo do Horto. Madeira policromada. Aleijadinho. Congonhas/ MG. 170 cm x 200 cm x 50 cm Cristo no Horto das Oliveiras. Detalhe do Passo do Horto. Madeira policromada por Mestre Ataíde. Aleijadinho. Congonhas/MG. 142 cm x 123 cm x 82 cm. Reedificação da fachada em pedra da Matriz de Santo Antônio, 1717 a 1779. Ouro Branco/MG. Altar mor. Início do séc. XVIII. Igreja Matriz de Santo Antônio. Ouro Branco/MG. Sabará, onde Fernão Dias encontrou as pedras semi-preciosas em 1692. Capela Nossa Senhora do Ó em Sabará, 1720. Retábulo da capela mor, 1720. Estilo nacional português. Pinturas com chinesices na parede do arco cruzeiro. Primeira matriz de Minas Gerais em Sabará, 1710. Teatro de Sabará. Séc. XVIII. Igreja Nossa Senhora do Carmo em Sabará. Fachada em pedra desenhada e esculpida por Aleijadinho no mesmo período que estava trabalhando nas igrejas franciscanas de Ouro Preto e São João del Rei. Fachada modernizada – séc. XIX da matriz do Pilar de Ouro Preto. Altares laterais e púlpito da igreja matriz de N. Sra. do Pilar. Ouro Preto. Reformada por Antônio Francisco Pombal, 1736/45. Vista geral da nave com a pintura de quatro doutores da igreja na parede do arco cruzeiro. Matriz N. S. Conceição. Catas Altas/MG. Pinturas na parede do arco cruzeiro e capela de São Miguel no transepto e grupo escultórico da justiça acima do arco da capela. Igreja de N. S. Conceição. Catas Altas/MG. Igreja da Ordem Terceira de São Francisco, 1762, Igreja N. S. do Carmo, 1784 e Pelourinho. Largo de São Francisco. Mariana/MG. Igreja Nossa Senhora do Rosário. Arqu. Antônio Pereira de Sousa Calheiros, 1757. Planta curvelínea segundo características do barroco de Borromini. Ouro Preto. Igreja de São Pedro com planta curvilínea. Séc. XVIII e XIX. Mariana/MG. Forro da nave da Igreja de São Pedro, com planta curvilínea. Séc. XVIII e XIX. Mariana/MG. Igreja Matriz de Santo Antônio. Construção em madeira e barro. Início do século XVIII. Santa Bárbara/MG. Interior da nave da Matriz de S. Antônio, início do séc. XVIII. Santa Bárbara/MG. Capela mor com pinturas rococós de Mestre Ataíde. Início do séc. XIX. Matriz de Santo Antônio. Santa Bárbara/MG. Igrejas das ordens terceiras franciscana e carmelita em Mariana. Procissão de Corpus Christi em Mariana. Câmara e Cadeia de Mariana. Vista geral de Ouro Preto com a igreja de N. S. da Conceição de Antônio Dias. Ouro Preto/ MG. Igreja de Santa Ifigênia. Ladeira do Vira Saia. Ouro Preto/MG. Vista do Morro de Santa Quitéria com a igreja de N. Sra. do Carmo e Casa de Câmara e Cadeia, atual Museu da Inconfidência. Ouro Preto. Praça Tiradentes, Ouro Preto. Casa de Câmara e Cadeia, atual Museu da Inconfidência. Vista da cidade de Ouro Preto a partir do adro da igreja de Mercês de Cima. Casario do lado da matriz do Pilar. Igreja N. S. do Carmo. 1766 –1772. Arquiteto Manoel Francisco Lisboa. Vista Lateral. Ouro Preto/MG. Igreja N. S. do Carmo Arquiteto: Manoel Francisco Lisboa Arrematante da obra: Francisco Cerqueira Lima Fachada modificada por Aleijadinho 1766 – 1772. Ouro Preto/MG. Portada da Igreja N. S. do Carmo. Pedra sabão. Aleijadinho Ouro Preto/MG. Igreja de São Francisco de Assis Arquiteto Antônio Francisco de Lisboa, Aleijadinho. Construtor: Domingos Moreira de Oliveira. Torre terminada em 1772 sendo os arrematantes Henrique Gomes de Brito e Luís Pinheiro Lobo. 1766 Ouro Preto/MG. Capela-mor da igreja de São Francisco de Assis em Ouro Preto. Considerada a mais importante obra em talha de Aleijadinho. Grupo escultórico da Santíssima Trindade. Aleijadinho, igreja de São Francisco de Assis em Ouro Preto. Pintura de Mestre Ataíde no forro da igreja de São Francisco de Assis em Ouro Preto. Igreja de São Francisco. São João del Rey. Aleijadinho e Francisco de Lima Cerqueira, 1774. Característica da terceira fase, com linhas curvas na planta. Igreja da Ordem Terceira de São Francisco. Risco de Aleijadinho. 1774, com alterações do mestre canteiro Francisco de Lima Cerqueira. São João del Rei/MG. Portada e cimalha da Igreja da Ordem Terceira de São Francisco. Antônio Francisco Lisboa (Aleijadinho) e Francisco de Lima Cerqueira. São João del Rei/MG. Portada, volutas com anjos e medalhão de N. Senhora. Aleijadinho e Francisco de Lima Cerqueira. Igreja da Ordem Terceira de São Francisco, São João del Rei/MG. Internamente a igreja foi alterada por Cerqueira inclusive o retábulo-mor mas se preservou o arco-cruzeiro e talvez o altar da direita teria sido executado pelo mestre. Altar mor da igreja de São Francisco, Entalhador, Luís Pinheiro, 1790. Igreja N. Sra. do Carmo, Francisco de Lima Cerqueira, 1790. São João del Rey. Catedral de N. Sra. do Pilar, São João del Rey. Fachada de Manuel Rictor de Jesus, 1846. Capela mor da catedral de N. Sra. do Pilar em São João del Rey, 1732. Pintura do forro da nave de N. Sra. do Pilar. São João del Rey. Vista geral da cidade de Tiradentes, antiga São José del Rei. Matriz de 1720. Último desenho de Aleijadinho como arquiteto. Nestas torres o mestre realiza o acabamento em forma de sino que deveria ser a igreja franciscana de São João del Rei, alterada por Cerqueira. A posição privilegiada da matriz auxiliou o mestre na modernização como triângulo frontão alteado e com graciosas curvas rimadas com as aquelas das torres. Matriz de Santo Antônio, fachada desenhada por Aleijadinho, 1810. Tiradentes/MG. Vista geral da nave. Matriz de Santo Antônio,1730-1740. Tiradentes/MG. Tradições das procissões na Semana Santa em Tiradentes. Domingo de Ramos. Artesamato com lembranças das lições do estilo barroco em Tiradentes. Vista de Diamantina com torre da igreja de N. Sra. do Carmo. Igreja de São Francisco, 1771. Igreja Senhor do Bonfim, 1771. Igreja Nossa Senhora do Rosário dos Pretos, 1731. Bibliografia. BAZIN, Germain. A Arquitetura Religiosa Barroca no Brasil. Rio de Janeiro : Ed. Record, 1983. MACHADO, Lourival. Barroco Mineiro. São Paulo : Perspectiva, 1978. OLIVEIRA, Myriam A. Ribeiro. O Rococó Religioso no Brasil. São Paulo: Cosac &Naif, 2003. TIRAPELI, Percival. Patrimônio da Humanidade no Brasil. World Heritage Sites in Brazil. São Paulo : Metalivros, 2009 – 5° edição. ________. Igrejas Barrocas do Brasil. Baroque Churches of Brazil. São Paulo : Metalivros, 2008..
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