Os retratos de Maria Isabel e Maria Francisca de Bragança, de Nicolas-Antoine Taunay

Nicolas-Antoine Taunay, French landscape painter, produced also several portraits during his stay at the Rio de Janeiro Court. In this city, in 1816, he paints the queen Carlota Joaquina and all her daughters. In this group, two portraits have a very special way: the paintings still today catalogued as Maria Francisca and Maria Teresa, but probably being Maria Isabel and Maria Francisca de Assis - princesses that, in this year, left Brazil to marry the Spanish King Fernando VII, and his brother Carlos Maria Isidro de Bourbon. In this article, beyond to describe these portraits (and analyse the identities of the portrayed princesses), I analyse their functions in the Court society and the mains artists of this gender in Europe. I will discuss, as well, the hypothesis about the Taunay choices. In this sense, I will analyse the possible circulation of the typologies of portrait between Italy, Portugal, Spain and France, understanding these productions by Taunay and the functions occupied by these portraits in the political relations between Brazil and Europe.Nicolas-Antoine Taunay, pintor de paisagens francês, também realizou alguns retratos durante sua estadia na corte do Rio de Janeiro. Nessa cidade, em 1816, ele pinta a rainha Carlota Joaquina e todas as suas filhas. Nesse conjunto, dois retratos sobressaem-se de modo especial: os hoje ainda inventariados como de Maria Francisca e de Maria Teresa, mas que provavelmente são o de Maria Isabel e o de Maria Francisca de Assis - princesas que, nesse ano, deixavam o Brasil para casar-se, respectivamente, com Fernando VII, o rei espanhol, e com seu irmão Carlos Isidro de Bourbon. Neste artigo, além de descrevermos os retratos (e analisarmos a questão da identidade das princesas retratadas), abordamos suas funções na sociedade das cortes e os principais artistas do gênero na Europa. Discutimos, também, as hipóteses que permeiam as escolhas de Taunay para sua execução. Nesse sentido, tratamos da possível circulação de tipologias entre Itália, Portugal, Espanha e França, buscando entender a forma como Taunay os realizou e as funções que doravante tais retratos ocupariam nas relações entre o Brasil e a Europa.Universidade Federal de São Paulo (UNIFESP)UNIFESPSciEL

The Early Royal Society and Visual Culture

Recent studies have fruitfully examined the intersection between early modern science and visual culture by elucidating the functions of images in shaping and disseminating scientific knowledge. Given its rich archival sources, it is possible to extend this line of research in the case of the Royal Society to an examination of attitudes towards images as artefacts –manufactured objects worth commissioning, collecting and studying. Drawing on existing scholarship and material from the Royal Society Archives, I discuss Fellows’ interests in prints, drawings, varnishes, colorants, images made out of unusual materials, and methods of identifying the painter from a painting. Knowledge of production processes of images was important to members of the Royal Society, not only as connoisseurs and collectors, but also as those interested in a Baconian mastery of material processes, including a “history of trades”. Their antiquarian interests led to discussion of painters’ styles, and they gradually developed a visual memorial to an institution through portraits and other visual records.AH/M001938/1 (AHRC

Annexe : Éloge de Vaux, de Foucquet et de Le Brun. Texte de Félibien tiré de De l'origine de la peinture et des plus excellens peintres de l’antiquité. dialogue, Paris. Chez Pierre Le Petit, 1660

Félibien André. Annexe : Éloge de Vaux, de Foucquet et de Le Brun. Texte de Félibien tiré de De l'origine de la peinture et des plus excellens peintres de l’antiquité. dialogue, Paris. Chez Pierre Le Petit, 1660 . In: Le Fablier. Revue des Amis de Jean de La Fontaine, n°11, 1999. Avec La Fontaine chez Fouquet : André Félibien à Vaux-le-Vicomte (1660-1661) pp. 27-30

Annexe : Éloge de Vaux, de Foucquet et de Le Brun. Texte de Félibien tiré de De l'origine de la peinture et des plus excellens peintres de l’antiquité. dialogue, Paris. Chez Pierre Le Petit, 1660

Félibien André. Annexe : Éloge de Vaux, de Foucquet et de Le Brun. Texte de Félibien tiré de De l'origine de la peinture et des plus excellens peintres de l’antiquité. dialogue, Paris. Chez Pierre Le Petit, 1660 . In: Le Fablier. Revue des Amis de Jean de La Fontaine, n°11, 1999. Avec La Fontaine chez Fouquet : André Félibien à Vaux-le-Vicomte (1660-1661) pp. 27-30

Entretiens || Sur Les Vies || Et || Sur Les Ouvrages || Des Plus || Excellens Peintres || Anciens Et Modernes

[Mre. André Félibien]Verf. ermitteltErschienen: Bd. 1 -

Entretiens sur les vies et sur les ouvrages des plus excellens peintres anciens et modernes; avec la vie des architectes : de l'idée du peintre parfait, des traitez de la miniature, des desseins, des estampes, de la connoissance des tableaux, et du goût des nations : de la description des maisons de campagne de Pline, & de celles des invalides

Traité de la miniature / par Catherine Perrotpar ... FelibienIn tome 6 nachgebunden: Traité de la miniatur

Entretiens sur les vies et sur les ouvrages des plus excellens peintres anciens et modernes

[André Félibien

Description de la grotte de Versailles

André Félibie

Des principes de l'architecture, de la sculpture, de la peinture, et des autres arts qui en dependent : avec un dictionnaire des termes propres à chacun de ces arts

André Félibie