In D. Sardo, J. V. Caldas e V. Serrão (eds.), História da Arte nos Açores. Parte I (c.1427-1580). Arquitetura e arte, do descobrimento à monarquia dual, Angra do Heroísmo, Direção Regional da Cultura, 2018, pp. 97-113 ., 2018
De acordo com a tradição, teria sido no lugar da Ribeira de Frei João que se fixaram os primeiros... more De acordo com a tradição, teria sido no lugar da Ribeira de Frei João que se fixaram os primeiros povoadores da ilha Terceira nos meados do século XV. Mais tarde, no reinado de D. Manuel, a 6 de março de 1503, o lugar seria elevado a vila e daí para a frente denominado como Vila de São Sebastião, reconstruindo-se por inteiro, muito provavelmente, o templo que aí existia 1. Apesar de ter sido muito alterada e refeita, a Igreja de São Sebastião (Fig. 1) integra-se na tradição das igrejas paroquiais inspiradas pela arquitetura gótica portuguesa de tipo mendicante, apresentando ainda um considerável número de elementos tardo-góticos, tan-to no que se refere a alçado e volumetria, como no que respeita a armações e aparelho pétreo, designadamente parte do portal axial, os portais laterais, a cantaria e os contrafortes da cabeceira ou as abóbadas das capelas laterais. As pinturas murais As pinturas murais subsistentes no interior do templo, nas pare-des norte e sul, devem ser entendidas, antes de mais, como uma forma de enobrecimento do edifício, extensível à dignificação dos respetivos paroquianos e da própria localidade. É certo que o papel destas pinturas é mais vasto e denso, desde logo cumprindo também funções didáticas e apotropaicas. Em termos insulares, estas pinturas murais são as mais antigas que se conhecem e, em termos nacionais, pertencem a um grupo restrito de frescos que simultaneamente estão em bom estado de conservação e que ocupam uma superfície bastante extensa. Estas pinturas divi-dem-se em dois grupos. Por um lado, temos diversas cenas nar-rativas; por outro, temos figuras autónomas separadas por barras ©JOSÉ GUEDES DA SILVA/DIREÇÃO REGIONAL DA CULTURA Fig. 1. Igreja de São Sebastião.
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Books by Luís U Afonso
Readers of the book will gain awareness of how historical foundations of arts markets continue to impact on contemporary global developments, while transformational digital technology shakes up the art world. With new insights into emerging arts markets, the book also covers themes and phenomena such as NFTs, secrecy, platforms, and financialization in the arts.
The result is a book that will prove valuable reading for scholars involved in art markets studies.
Desde o início do novo milénio que o volume de negócios dos mercados da arte quase triplicou, movimentando anualmente cerca de 70 mil milhões de dólares em todo o mundo. Este crescimento, porém, tem-se baseado mais no aumento do preço de um número limitado de obras de arte, produzidas por um número ainda mais limitado de artistas, do que no alargamento da quantidade de obras transacionadas, evidenciando que os mercados da arte estão cada vez mais polarizados, e desproporcionais, entre o topo e a base. São questões como esta que se analisam neste livro, estudando os mercados da arte nos seus aspetos teóricos e práticos, explicando fenómenos como a concentração em artistas blue chips ou a relação entre os cânones artísticos e a arte do presente.
Este livro interessa a quem pretender conhecer a estrutura, a dinâmica e as principais tendências dos mercados da arte globais da atualidade, bem como a sua história. Destacando a relevância da dimensão económica do fenómeno artístico, os autores analisam o modo como questões de ordem material interagem com a dimensão estritamente cultural e artística das obras de arte. Os autores consideram, e assumem, que os aspetos económicos presentes nos processos de produção, promoção e comercialização das artes plásticas constituem uma variável tão relevante quanto outras para se compreenderem as condições que envolvem a criação artística, a sua validação e o seu consumo.
Esta obra destina-se a estudantes de história da arte, de belas artes e de outros cursos ligados às indústrias criativas. Mas é também um livro com muito interesse para todos aqueles que trabalham nos mercados da arte, para os colecionadores e para todas as pessoas que queiram aprender como funcionam os mercados da arte.
ENG
Since the beginning of the new millennium, gross art market turnover has tripled. The global total is now estimated to be $ 70 billion. This growth has, however, been based more on the dramatic price increase of a limited number of works of art, created by a tiny group of artists, than on a systemic rise in the unit value of the majority of traded goods. This shows, in short, that art markets and their products are getting more polarized, and disproportionate. These are the issues, which we analyze in this book, adopting as we do a theoretical and practical standpoint. We explain, for example, phenomena such as the market’s concentration on a handful of blue-chip artists and the relationship between the classical canons of the past in Europe, China and West Asia and the aesthetic rules of today.
This book will interest anyone who wishes to know the structure, dynamics, and key trends of today's global art markets, as well as the history of the art markets from the Middle Ages to the present. Highlighting the relevance of the economic dimension of the artistic phenomenon, the authors analyze how material concerns interact with the strictly cultural and artistic dimension of works of art. The authors consider, and assume, that the economic aspects present in the processes of production, promotion and marketing of the fine arts constitute a significant variable enabling us to understand the conditions that involve artistic creation, its validation and its consumption.
This book is intended for students of art history and fine art as well as other related studies linked to the creative industries. It is certainly a book for those engaged in the art industry whether as a dealer or a museum curator. More broadly, it is a book that should interest anyone with a curiosity in markets in general; and, of course, the events that determine the performance of these markets.
Table of Contents
1. Katrin Kogman-Appel
Calligraphy and Decoration in the Farhi Codex (Sassoon coll. Ms 368, Mallorca, 1366–83)
2. Sarit Shalev-Eyni
Sephardic Book Art in Transition: The Biblical Codex and Mudejar Visual Culture
3. Shalom Sabar
Typography, Layout and Decoration: Between the Printed Book and Illuminated Mss. in the Iberian Peninsula
4. Javier del Barco
Page Layout of Shirat ha-Yam and Parashat Ha'azinu in Fifteenth-Century Sephardic Bibles
5. Maria Ortega Monasterio
Some Sephardic Bibles from the Fifteenth Century in the Bodleian Library
6. Tiago Moita
The Portuguese Hebrew translation of Gerard de Solo’s Commentary to book IX of Rhazes’s Almansor and the manuscript at Reynolds-Finley Historical Library (Birmingham, Alabama)
7. Ilana Wartenberg
Mudéjar decorations within calendrical, geographical, and mathematical tables and diagrams in a fifteenth-century Sephardic manuscript of Isaac Israeli’s Yәsōd ʿŌlām from the British Library (MS Heb. Add. 15977)
8. Helena Avelar, Luís C. Ribeiro
Manuscripts and evidences of Jewish astrology and medicine in fifteenth-century Portugal: an overview
9. Andreina Contessa
Wandering books: the migration of 15th century Sephardic manuscripts and their 'new life' outside Iberia
10. Luís U. Afonso
Jewish networks, books and early protoglobalisation: investigating the route of BNF Hebr. 1314-1315
Os estudos aqui reunidos foram apresentados num colóquio realizado em janeiro de 2015 na Faculdade de Letras da Universidade de Lisboa, organizado pela Direção Geral do Património Cultural e pelo ARTIS-Instituto de História da Arte. O objetivo desse encontro foi divulgar e discutir os novos dados resultantes da profunda campanha de conservação e restauro realizada no interior da Charola, cuja última fase se estendeu entre 2001 e 2014, à qual a CIMPOR e mais tarde a CIMPOR/InterCement deram um fortíssimo contributo enquanto mecenas. A relevância das comunicações apresentadas oralmente motivou os organizadores do colóquio a solicitar aos vários autores a passagem a escrito dessas apresentações. Infelizmente nem todos os autores o puderam fazer, como sucedeu com Anna Marcone (†). Pelo seu caráter e pelo seu papel decisivo na definição de uma metodologia de intervenção de conservação e restauro na Charola, este volume é dedicado à sua memória.
Papers by Luís U Afonso
Readers of the book will gain awareness of how historical foundations of arts markets continue to impact on contemporary global developments, while transformational digital technology shakes up the art world. With new insights into emerging arts markets, the book also covers themes and phenomena such as NFTs, secrecy, platforms, and financialization in the arts.
The result is a book that will prove valuable reading for scholars involved in art markets studies.
Desde o início do novo milénio que o volume de negócios dos mercados da arte quase triplicou, movimentando anualmente cerca de 70 mil milhões de dólares em todo o mundo. Este crescimento, porém, tem-se baseado mais no aumento do preço de um número limitado de obras de arte, produzidas por um número ainda mais limitado de artistas, do que no alargamento da quantidade de obras transacionadas, evidenciando que os mercados da arte estão cada vez mais polarizados, e desproporcionais, entre o topo e a base. São questões como esta que se analisam neste livro, estudando os mercados da arte nos seus aspetos teóricos e práticos, explicando fenómenos como a concentração em artistas blue chips ou a relação entre os cânones artísticos e a arte do presente.
Este livro interessa a quem pretender conhecer a estrutura, a dinâmica e as principais tendências dos mercados da arte globais da atualidade, bem como a sua história. Destacando a relevância da dimensão económica do fenómeno artístico, os autores analisam o modo como questões de ordem material interagem com a dimensão estritamente cultural e artística das obras de arte. Os autores consideram, e assumem, que os aspetos económicos presentes nos processos de produção, promoção e comercialização das artes plásticas constituem uma variável tão relevante quanto outras para se compreenderem as condições que envolvem a criação artística, a sua validação e o seu consumo.
Esta obra destina-se a estudantes de história da arte, de belas artes e de outros cursos ligados às indústrias criativas. Mas é também um livro com muito interesse para todos aqueles que trabalham nos mercados da arte, para os colecionadores e para todas as pessoas que queiram aprender como funcionam os mercados da arte.
ENG
Since the beginning of the new millennium, gross art market turnover has tripled. The global total is now estimated to be $ 70 billion. This growth has, however, been based more on the dramatic price increase of a limited number of works of art, created by a tiny group of artists, than on a systemic rise in the unit value of the majority of traded goods. This shows, in short, that art markets and their products are getting more polarized, and disproportionate. These are the issues, which we analyze in this book, adopting as we do a theoretical and practical standpoint. We explain, for example, phenomena such as the market’s concentration on a handful of blue-chip artists and the relationship between the classical canons of the past in Europe, China and West Asia and the aesthetic rules of today.
This book will interest anyone who wishes to know the structure, dynamics, and key trends of today's global art markets, as well as the history of the art markets from the Middle Ages to the present. Highlighting the relevance of the economic dimension of the artistic phenomenon, the authors analyze how material concerns interact with the strictly cultural and artistic dimension of works of art. The authors consider, and assume, that the economic aspects present in the processes of production, promotion and marketing of the fine arts constitute a significant variable enabling us to understand the conditions that involve artistic creation, its validation and its consumption.
This book is intended for students of art history and fine art as well as other related studies linked to the creative industries. It is certainly a book for those engaged in the art industry whether as a dealer or a museum curator. More broadly, it is a book that should interest anyone with a curiosity in markets in general; and, of course, the events that determine the performance of these markets.
Table of Contents
1. Katrin Kogman-Appel
Calligraphy and Decoration in the Farhi Codex (Sassoon coll. Ms 368, Mallorca, 1366–83)
2. Sarit Shalev-Eyni
Sephardic Book Art in Transition: The Biblical Codex and Mudejar Visual Culture
3. Shalom Sabar
Typography, Layout and Decoration: Between the Printed Book and Illuminated Mss. in the Iberian Peninsula
4. Javier del Barco
Page Layout of Shirat ha-Yam and Parashat Ha'azinu in Fifteenth-Century Sephardic Bibles
5. Maria Ortega Monasterio
Some Sephardic Bibles from the Fifteenth Century in the Bodleian Library
6. Tiago Moita
The Portuguese Hebrew translation of Gerard de Solo’s Commentary to book IX of Rhazes’s Almansor and the manuscript at Reynolds-Finley Historical Library (Birmingham, Alabama)
7. Ilana Wartenberg
Mudéjar decorations within calendrical, geographical, and mathematical tables and diagrams in a fifteenth-century Sephardic manuscript of Isaac Israeli’s Yәsōd ʿŌlām from the British Library (MS Heb. Add. 15977)
8. Helena Avelar, Luís C. Ribeiro
Manuscripts and evidences of Jewish astrology and medicine in fifteenth-century Portugal: an overview
9. Andreina Contessa
Wandering books: the migration of 15th century Sephardic manuscripts and their 'new life' outside Iberia
10. Luís U. Afonso
Jewish networks, books and early protoglobalisation: investigating the route of BNF Hebr. 1314-1315
Os estudos aqui reunidos foram apresentados num colóquio realizado em janeiro de 2015 na Faculdade de Letras da Universidade de Lisboa, organizado pela Direção Geral do Património Cultural e pelo ARTIS-Instituto de História da Arte. O objetivo desse encontro foi divulgar e discutir os novos dados resultantes da profunda campanha de conservação e restauro realizada no interior da Charola, cuja última fase se estendeu entre 2001 e 2014, à qual a CIMPOR e mais tarde a CIMPOR/InterCement deram um fortíssimo contributo enquanto mecenas. A relevância das comunicações apresentadas oralmente motivou os organizadores do colóquio a solicitar aos vários autores a passagem a escrito dessas apresentações. Infelizmente nem todos os autores o puderam fazer, como sucedeu com Anna Marcone (†). Pelo seu caráter e pelo seu papel decisivo na definição de uma metodologia de intervenção de conservação e restauro na Charola, este volume é dedicado à sua memória.
Además, la obra aborda, desde una perspectiva multidisciplinar, la edición digital de los testimonios epigráficos del Renacimiento a través de la experiencia acumulada en los últimos años en distintos proyectos desarrollados en el contexto de las Humanidades Digitales, y se analiza el potencial que tienen las Tecnologías de la Información y la Documentación aplicadas a la investigación histórica en diferentes ámbitos.
The book studies the humanistic inscriptions in the Iberian Peninsula and their evolution through the main epigraphic programs that were developed in Spain and Portugal during the 16th and 17th centuries. In the context of the different political uses of apparatus writings, the monarchies that reigned in both countries promoted theses programs, as well as the Nobility and the Clergy.
In addition, the book addresses, from a multidisciplinary perspective, the digital edition of the epigraphic testimonies of the Renaissance through the experience accumulated in recent years in different projects developed in the context of Digital Humanities, and the potential of the Information and Documentation Technologies applied to historical research in different fields.
how in the Manueline period a combination of very different arts were applied over the Romanesque structure of the Templar’s Rotunda in
Tomar, specifically mural painting, leatherwork (guadamecis), stained glass, gilded wood, wood sculpture, wax applications, easel painting,
stucco and also textiles and goldsmiths works. From the combination of these arts a Manueline total work of art was created, anticipating
solutions that would later be followed in Baroque churches in Portugal and in the Portuguese empire.
This article studies the late medieval Portuguese Jewish architecture emphasizing its integration in a geometric and austere branch of Late Gothic architecture. The few remaining elements associated with medieval Portuguese synagogues reveal a refined language, of great sobriety, unlike the Mudéjar and Islamic models followed in the thirteenth and fourteenth centuries in other Iberian kingdoms. This language, bearing probable neostoical values, is broad enough to allow the integration of some novelties that came from Italy, particularly in terms of rehabilitation of the classical architectural orders. These elements are studied under a proto-humanistic culture which is expressed either by the geometric and austere branch of Late Gothic either by the first classicist architecture.
The Portuguese market for decorative arts and antiques is a dynamic ecosystem where collectors, traders, auction houses, museums, experts and academics interact. This ecosystem stems largely from the history and circumstances of the country, including its open relationship with the world, from the South Atlantic to the Far East. In the case of Chinese decorative arts, the Portuguese have become accustomed to using, appreciating and marketing products such as porcelain, silk or lacquered furniture, both in the intra-Asian market and in the intercontinental market. The role of the Portuguese as intermediaries and consumers of this type of product is well known. Take as an example the 17 porcelain merchants and the 38 silk traders installed at Rua dos Mercadores in Lisbon in the year 1620. The presence of pieces of Asian origin in the material culture of the Portuguese elites of the Modern Age is evident in the inventories, in testaments and in some archaeological contexts, as was verified in the excavations carried out in the monastery of Santa Clara-a-Velha (Coimbra), where yellow and red enamel porcelains of the Jiajing reign (1522-1566) were rescued, whose export, officially, was forbidden. Still in the same direction, one must consider the relevance of Chinese and Asian works of art preserved in Portuguese public museums, such as Museu Nacional de Arte Antiga and Museu Nacional Soares dos Reis, or museums that have been formed from private collections, such as the museums from Medeiros e Almeida, Anastácio Gonçalves, Ricardo Espirito Santo, Abel de Lacerda or Carmona e Costa.
Nowadays, there are two segments of the art market in Portugal where the role of Chinese decorative arts is crucial. The first concerns porcelain, both among collectors, traders, auctioneers and experts. It should be noted, for example, that about 10% of the lots traded by the main national auction houses are Chinese porcelain, mainly pieces produced during the very long reign of Qianlong (1736-1795). Likewise, two of the most important antique dealers specialized in porcelain, with a regular presence in the most important antiques fair (the TEFAF in Maastricht) are the Portuguese Jorge Welsh and Luís Alegria, a sign of the relevance of the internal market and its competitive capacity.
The second segment that also deserves special mention deals with other pieces of Chinese or Asian origin produced for the European market, belonging to a much more diversified typology ranging from furniture to syncretic religious pieces (in form or content) , as well as Kunstkammer objects. Together with porcelain, this segment of the decorative arts and antiques market was one of the most resistant to the effects of the economic crisis and the change in consumption habits of the Portuguese elites, who from 2000 on chose to acquire contemporary art in detriment of antiques and decorative arts. In this market, several antiquarians stand out, such as Mário Roque, Manuel Castilho, Pedro Aguiar Branco and José Roquette, who not only commercialize this type of pieces but also promote their study and analysis, especially through catalogues and exhibitions.
In this paper we highlight to relevant realities. The first concerns the importance of the Chinese arts segment in the Portuguese market compared to the situation prevailing in other European markets. The second concerns the growing weight of buyers and bidders of Chinese origin in the Portuguese art market, as is the case in other countries, and this phenomenon has become part of the mutations that the international art market has been experiencing in recent years.