Publicação
La Venaria Reale. Palazzo Di Piacere, e Di Caccia (1674) De Amedeo Di Castellamonte: a influência de estampas de Georges Tasnière em azulejos portugueses (finais séc. XVII-1.ª Metade séc. XVIII)
| Resumo: | Portuguese tile production and its works dated from the first half of the eighteen century found on the prints presented on the piedmont illustrated book La Venaria Reale. Palazzo di Piacere, e di Caccia, edited in Turin in 1674, the inspiration to certain pictures of tile works made both to the ecclesiastic and aristocratic clientele. Exploring the mythological theme of Diana or in noble character equestrian representations, the use of those engravings it’s a fact, although in a slight décalage circumstance, with them being used by different tile painters to several work requests. Appealing to the special incidence of that graphic source, beginning with the comparison between engravings and tile depictions, we will analyze the print assimilation strategies of the different intervenients considering the background question of a shared repertoire among members of the same métier. |
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| Autores principais: | Santos, Diana Gonçalves dos |
| Assunto: | Azulejo Gravura Diana Venaria Reale Tile Print Diane Venaria Reale Azulejo Grabado Diana Venaria Reale |
| Ano: | 2012 |
| País: | Portugal |
| Tipo de documento: | artigo |
| Tipo de acesso: | unknown |
| Instituição associada: | Universidade Católica Portuguesa |
| Idioma: | português |
| Origem: | Revista de Artes Decorativas |
| Resumo: | Portuguese tile production and its works dated from the first half of the eighteen century found on the prints presented on the piedmont illustrated book La Venaria Reale. Palazzo di Piacere, e di Caccia, edited in Turin in 1674, the inspiration to certain pictures of tile works made both to the ecclesiastic and aristocratic clientele. Exploring the mythological theme of Diana or in noble character equestrian representations, the use of those engravings it’s a fact, although in a slight décalage circumstance, with them being used by different tile painters to several work requests. Appealing to the special incidence of that graphic source, beginning with the comparison between engravings and tile depictions, we will analyze the print assimilation strategies of the different intervenients considering the background question of a shared repertoire among members of the same métier. |
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