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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Carvalho, Joaquim Félix de;

    Nova carne do Corpo de Cristo, estas capelas são movimento cultural, epifania ética, refinado despojamento, práticas de esperança. Nasceram da cooperação multidisciplinar: arquitetos Cerejeira Fontes; artistas Asbjørn Andresen, Lisa Sigfridsson, Lourdes Castro, Ilda David’, Manuel Rosa, Helena Cardoso; excelentes artesãos e um teólogo. Frédéric Debuyst e Crispino Valenziano, entre outros, relevaram seus valores.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Repositório Instituc...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Repositório Instituc...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Cunha, João Alves da;

    Esta obra procura dar a conhecer a história do Movimento de Renovação da Arte Religiosa (MRAR), fazendo um retrato detalhado da sua ação nas décadas de 1950 e 1960. Desejando tornar mais próximo e compreensível o percurso histórico deste movimento, considerou-se que a abordagem no estilo narrativo seria a mais adequada. Os acontecimentos estão deste modo apresentados e articulados segundo uma ordem cronológica, recorrendo-se frequentemente à citação de comentários, pensamentos e ideias expressas então, como forma de garantir a riqueza do discurso original e de lhe garantir uma genuidade que poderia ser falseada no recurso a palavras nossas.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Repositório Instituc...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Repositório Instituc...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Cândido, Manuelina Maria Duarte;

    Estudo de caso: a coleção de imaginária do museu diocesano dom José Tradicionalmente, a cultura material não era utilizada como documento histórico, mas como objeto de fruição, elemento estético, ilustrativo ou de aguçamento dos sentidos. A produção historiográfica mais recente tem também — sem desmerecer aquelas qualidades — procurado fazer sobre os objetos uma leitura enquanto fontes primárias de pesquisa. Nesta perspectiva, nosso trabalho procurou, ainda que de forma limitada pelas dificuldades inerentes ao propósito e à nossa modesta experiência, levantar informações sobre a complexa rede de produção, circulação, consumo, veneração e posterior institucionalização das imagens sacras que hoje compõem a Coleção de Imaginária do Museu Dom José.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ ReCiL - Repositório ...arrow_drop_down
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ ReCiL - Repositório ...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Rocha, Leonel Fernando Gonçalves da;

    The historiography of the Romanesque reveals itself late in individualizing the artistic movement. However, since the 19th century, the bibliographical production has been more and more intense. We look at the recent past and find studies that value not only architecture but also sculpture, goldsmithery, and illuminated manuscripts. The 20th century intervened in monuments in such a profound way that it gave them back a stylistic unity that some never had. Situated in the Dark Ages, this movement will build in a way that many will equate to baroque investment. Its pre-romanesque art roots still have difficult outlines to determine. Aesthetics has intellectual contours that are linked to the Christian influence. The beauty is a characteristic of the transcendent that Cluny will expand in a design that will give it an international character, despite being regionalized. The sculpture, now conquered, will emerge from architecture. It is a plastic that we will find in Vale do Sousa, properly assimilated and regionally digested, which is still witnessed today in monasteries, churches, hermitages, memorials, towers and bridges. A historiografia do românico revela-se tardia a individualizar o movimento artístico. No entanto, a partir do século XIX a produção bibliográfica foi cada vez mais intensa. Olhamos para o passado recente e encontramos estudos que valorizam não só a arquitetura mas também a escultura, a ourivesaria, e a iluminura. O século XX interveio nos monumentos de uma forma tão profunda que lhes devolveu uma unidade estilística que, alguns, nunca tiveram. Situado na Idade das Trevas, este movimento vai construir numa vaga que muitos vão equiparar ao investimento barroco. As suas raízes prerromânicas ainda hoje têm contornos difíceis de precisar. A estética tem contornos intelectuais que se prendem com a influência cristã. O belo é caraterístico do transcendente que Cluny vai expandir num design que lhe dará um caráter internacional, apesar de se ir regionalizando. A escultura, agora conquistada, emergirá da arquitetura. É uma plástica que iremos encontrar no Vale do Sousa, devidamente assimilada e digerida regionalmente que se testemunha, ainda hoje, em mosteiros, igrejas, ermidas, memoriais, torres e pontes.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Repositório Instituc...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Repositório Instituc...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Lourenço, Maria Natália Vilarinho Rocha;

    Dissertação de Mestrado em Estudos do Património apresentada à Universidade Aberta Flávio Gonçalves (1929-1987) é uma personalidade multidisciplinar. Historiador da Arte, iconógrafo, iconólogo, investigador, professor, conferencista, constitui-se como objeto de estudo proposto para a dissertação final do mestrado em Estudos do Património. Homem de ciência, Flávio Gonçalves é apesar de tudo um autor pouco conhecido. Ainda assim, os seus estudos constituem uma referência no processo da leitura e de interpretação dos documentos figurativos, fundamentalmente a arte religiosa. Utilizou o método iconográfico, observando atentamente e descrevendo os elementos visuais bem como o método iconológico, para explicar o significado profundo da obra de arte. O objetivo deste trabalho intenta responder à pergunta o que nos revelam os estudos de Flávio Gonçalves sobre a arte religiosa em Portugal dos séculos XVI e XVII. A obra de Flávio Gonçalves é extensa, motivo por que circunscrevemos o conhecimento dos seus estudos às investigações iconográficas efetuadas na arte religiosa que revelaram influências e ruturas na historiografia nacional. Confrontamos com o que os historiadores da arte nos primeiros anos do século XX nos deixaram para nos situarmos nos processos historiográficos desse tempo e conhecer o que então se escreveu sobre a História da Arte. Flávio Gonçalves, não se limitou a ser um historiador centrado na inventariação exaustiva e cronológica das obras de arte e das épocas a que se reportam. Os seus estudos tanto se centraram nas obras de arte reconhecidas, como nos objetos plásticos de menor valor artístico. Fez-nos perceber que a obra de arte, sendo uma expressão cultural, oferece à nossa crítica mais do que nos revelam as suas cores e as suas formas. Flávio Gonçalves (1929-1987) is a multidisciplinary figure. As an art historian, iconographer, iconologist, researcher, teacher, lecturer, he was selected as the object of study for the final master's thesis in Estudos do Património. As a man of science, Flávio Gonçalves is, despite all, a little known author. Nevertheless, his studies are a reference in what the process of reading and interpretation of figurative documents, essentially in the religious art is concerned. He used the iconographic method, by attentively looking and describing the visual elements, as well as the iconological method in order to explain the work of art’s deep meaning. The purpose of this study is to try to answer the question what do Flávio Gonçalves studies reveal about Portuguese religious art in the XVI and XVII centuries. Flávio Gonçalves work is extensive and, for this reason, we circumscribed the knowledge of his studies to the iconographic investigations about religious art that had revealed influences and ruptures in national historiography. We compared with the work of other historians from the beginning of the XX century to locate ourselves in the historiographical processes of that time and to get to know what has been written about Art History. Flávio Gonçalves was not just an historian focused on extensive and chronological inventorying of the work of art from the period concerned. His studies focus not only in well-known work of art, but also in plastic objects with minor artistic value. He made us realize that the work of art, as a cultural expression, offers to our criticism more than its colours and shapes.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ LAReferencia - Red F...arrow_drop_down
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ LAReferencia - Red F...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Sousa, Ágata Patrícia Biga de Almeida Vieira de;

    Dissertação de Mestrado em Estudos do Património apresentada à Universidade Aberta Este trabalho debruça-se sobre a Igreja do Convento do Carmo, edifício localizado na cidade da Horta, Ilha do Faial, que se encontra há décadas encerrado ao culto e à comunidade. Alvo de obras de consolidação da estrutura na década passada, processo interrompido antes de chegar ao término, o complexo conventual resiste à actividade sísmica e ao clima açoriano. Estando a ser equacionado o retomar dos trabalhos de recuperação do imóvel, afigura-se necessário estabelecer o seu valor patrimonial, bem como agregar o conhecimento existente sobre ele. Neste âmbito, após um enquadramento histórico onde se aborda de forma sucinta o panorama histórico dos Açores, da Ordem do Carmo e deste imóvel, o primeiro templo carmelita português erigido fora do território continental, construído entre os séculos XVII e XVIII, realiza-se a descrição da Igreja do Carmo, com a análise da filiação estética do exterior e do interior nas correntes portuguesas do Estilo Chão, Barroco e Rococó (este,apenas no interior). Partindo da proposta de intervenção no edifício datada de 1999/2000, é feita a descrição do seu estado de conservação, apresentando a evolução que sofreu de 2004 a 2010, listando os trabalhos que urge efectuar e chamando a atenção para a ausência de classificação deste património imóvel. Relativamente ao património móvel que contém,apresenta-se o perfil do Monsenhor Júlio da Rosa, coleccionador faialense responsável pela preservação deste espólio durante a segunda metade do século XX, e são realizados o inventário e a análise da colecção. Por fim, reconhecendo que para garantir a sobrevivência deste património a médio e longo prazo é necessário devolvê-lo à comunidade onde se insere e, logo, encontrar uma função que sirva essa comunidade e permita a sobrevivência do edifício, simultaneamente respeitando a sua dignidade arquitectónica, urbanística e histórica, é avançada uma proposta de reutilização para este conjunto patrimonial, móvel e imóvel. Após uma contextualização sobre a reutilização de edifícios, nomeadamente de edifícios religiosos, bem como a apresentação de exemplos de edifícios de natureza inicialmente religiosa a que foram atribuídas novas funções, é avançada uma proposta de reutilização: a instalação, na Igreja do Carmo, de um museu de arte sacra. Tal reutilização adequa-se ao contexto religioso do templo, que é suficientemente espaçoso para albergar um museu, e contribui para a salvaguarda tanto do imóvel como do seu património integrado, atribuindo-lhe um uso não só público mas que se pode constituir como um contributo para a vida cultural da cidade. This work focuses on Carmo Church, located in Horta, Faial Island, which has been closed for decades. Object of structure consolidation in the past decade, process stopped before reaching the end, the conventual complex resists the seismic activity and the azorean climate. Since the resumption of the works is now being considered, it is now necessary to determine this heritage's patrimonial significance, and congregate the existing knowledge about it. In this context, following a historical framework that addresses briefly the historical background for the Azores, the Carmelite Order and of this building, the first Carmelite temple built outside the Portuguese mainland, constructed between the seventeenth and the eighteenth centuries, the Church is described, analising it's aesthetics filiation, both the exterior and the interior, in Portuguese Estilo Chão, Baroque and Rococo (inside only). Based on the intervention planned in 1999/2000 for the building, it's present condition is described, showing the process that occured from 2004 to 2010, listing the works which must be carried out and drawing attention to the lack of classification as heritage. As for the integrated heritage, a profile of Monsenhor Júlio da Rosa, Faialense collector, responsible for the preservation of this legacy during the latter half of the twentieth century, is presented, and the inventory and analysis of the collection are conducted. Finally, recognizing that to ensure its survival in the medium and long term it is necessary to return this heritage to its community, and thus find a function that may serve this community and allow the survival of the building, while respecting its architectural, urban and historical dignity, a proposal for the reuse of this heritage is advanced. After contextualizing the reuse of buildings, especially religious ones, and presentating examples of former religious buildings reused with new functions, a proposal for reuse is advanced: the installation of a museum of sacred art at Carmo Church. Such reuse is adjusted to the religious context of the temple, which is spacious enough to house a museum, and helps to safeguard both the property and its integrated heritage, giving it a public use while allowing it to be part of the city's cultural life.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ LAReferencia - Red F...arrow_drop_down
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ LAReferencia - Red F...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Eunice Ribeiro; Xaquín Núñez Sabarís; Daniel Tavares;

    From an Iberian perspective, a Galician-Portuguese one, more specifically, the aim of this essay is a dialogical reading of the poetry of women-poets of our century who propose a different view of the feminine and of feminine identity, putting into play a certain theology of femininity, alongside concepts that explicitly call for the representation of the body: Anunciações [Annunciations] (2016), by the Portuguese writer Maria Teresa Horta, a novel in verse that rewrites “with all the senses” the biblical encounter between the Virgin and the Angel; and O libro da egoísta [The Selfish Woman´s Book] (2003) by the young Galician poet Yolanda Castaño, a work that integrates literary and audiovisual codes and where the reflection on identity unfolds and multiplies, returning an image built between the most intimate self and the public perception of the writer. A partir de uma perspetiva ibérica, mais concretamente galego-portuguesa, propomos neste ensaio uma leitura dialogante da poesia de mulheres-poetas do nosso século que nos oferecem uma visão outra do feminino e da identidade feminina, pondo em jogo uma determinada teologia da feminilidade a par de conceitos que convocam de modo explícito a representação do corpo: Anunciações (2016), da escritora portuguesa Maria Teresa Horta, um romance em verso que reescreve o encontro bíblico entre a Virgem e Gabriel; e O libro da egoísta (2003) da jovem escritora galega Yolanda Castaño, uma obra que integra códigos literários e audiovisuais e onde a reflexão sobre a identidade se desdobra e se multiplica, devolvendo uma imagem construída entre o eu mais íntimo e a perceção pública da autora.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Revista de Estudos L...arrow_drop_down
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Carvalho, Joaquim Félix de;

    Nova carne do Corpo de Cristo, estas capelas são movimento cultural, epifania ética, refinado despojamento, práticas de esperança. Nasceram da cooperação multidisciplinar: arquitetos Cerejeira Fontes; artistas Asbjørn Andresen, Lisa Sigfridsson, Lourdes Castro, Ilda David’, Manuel Rosa, Helena Cardoso; excelentes artesãos e um teólogo. Frédéric Debuyst e Crispino Valenziano, entre outros, relevaram seus valores.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Repositório Instituc...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Repositório Instituc...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Cunha, João Alves da;

    Esta obra procura dar a conhecer a história do Movimento de Renovação da Arte Religiosa (MRAR), fazendo um retrato detalhado da sua ação nas décadas de 1950 e 1960. Desejando tornar mais próximo e compreensível o percurso histórico deste movimento, considerou-se que a abordagem no estilo narrativo seria a mais adequada. Os acontecimentos estão deste modo apresentados e articulados segundo uma ordem cronológica, recorrendo-se frequentemente à citação de comentários, pensamentos e ideias expressas então, como forma de garantir a riqueza do discurso original e de lhe garantir uma genuidade que poderia ser falseada no recurso a palavras nossas.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Repositório Instituc...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Repositório Instituc...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Cândido, Manuelina Maria Duarte;

    Estudo de caso: a coleção de imaginária do museu diocesano dom José Tradicionalmente, a cultura material não era utilizada como documento histórico, mas como objeto de fruição, elemento estético, ilustrativo ou de aguçamento dos sentidos. A produção historiográfica mais recente tem também — sem desmerecer aquelas qualidades — procurado fazer sobre os objetos uma leitura enquanto fontes primárias de pesquisa. Nesta perspectiva, nosso trabalho procurou, ainda que de forma limitada pelas dificuldades inerentes ao propósito e à nossa modesta experiência, levantar informações sobre a complexa rede de produção, circulação, consumo, veneração e posterior institucionalização das imagens sacras que hoje compõem a Coleção de Imaginária do Museu Dom José.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ ReCiL - Repositório ...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ ReCiL - Repositório ...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Rocha, Leonel Fernando Gonçalves da;

    The historiography of the Romanesque reveals itself late in individualizing the artistic movement. However, since the 19th century, the bibliographical production has been more and more intense. We look at the recent past and find studies that value not only architecture but also sculpture, goldsmithery, and illuminated manuscripts. The 20th century intervened in monuments in such a profound way that it gave them back a stylistic unity that some never had. Situated in the Dark Ages, this movement will build in a way that many will equate to baroque investment. Its pre-romanesque art roots still have difficult outlines to determine. Aesthetics has intellectual contours that are linked to the Christian influence. The beauty is a characteristic of the transcendent that Cluny will expand in a design that will give it an international character, despite being regionalized. The sculpture, now conquered, will emerge from architecture. It is a plastic that we will find in Vale do Sousa, properly assimilated and regionally digested, which is still witnessed today in monasteries, churches, hermitages, memorials, towers and bridges. A historiografia do românico revela-se tardia a individualizar o movimento artístico. No entanto, a partir do século XIX a produção bibliográfica foi cada vez mais intensa. Olhamos para o passado recente e encontramos estudos que valorizam não só a arquitetura mas também a escultura, a ourivesaria, e a iluminura. O século XX interveio nos monumentos de uma forma tão profunda que lhes devolveu uma unidade estilística que, alguns, nunca tiveram. Situado na Idade das Trevas, este movimento vai construir numa vaga que muitos vão equiparar ao investimento barroco. As suas raízes prerromânicas ainda hoje têm contornos difíceis de precisar. A estética tem contornos intelectuais que se prendem com a influência cristã. O belo é caraterístico do transcendente que Cluny vai expandir num design que lhe dará um caráter internacional, apesar de se ir regionalizando. A escultura, agora conquistada, emergirá da arquitetura. É uma plástica que iremos encontrar no Vale do Sousa, devidamente assimilada e digerida regionalmente que se testemunha, ainda hoje, em mosteiros, igrejas, ermidas, memoriais, torres e pontes.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Repositório Instituc...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Repositório Instituc...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Lourenço, Maria Natália Vilarinho Rocha;

    Dissertação de Mestrado em Estudos do Património apresentada à Universidade Aberta Flávio Gonçalves (1929-1987) é uma personalidade multidisciplinar. Historiador da Arte, iconógrafo, iconólogo, investigador, professor, conferencista, constitui-se como objeto de estudo proposto para a dissertação final do mestrado em Estudos do Património. Homem de ciência, Flávio Gonçalves é apesar de tudo um autor pouco conhecido. Ainda assim, os seus estudos constituem uma referência no processo da leitura e de interpretação dos documentos figurativos, fundamentalmente a arte religiosa. Utilizou o método iconográfico, observando atentamente e descrevendo os elementos visuais bem como o método iconológico, para explicar o significado profundo da obra de arte. O objetivo deste trabalho intenta responder à pergunta o que nos revelam os estudos de Flávio Gonçalves sobre a arte religiosa em Portugal dos séculos XVI e XVII. A obra de Flávio Gonçalves é extensa, motivo por que circunscrevemos o conhecimento dos seus estudos às investigações iconográficas efetuadas na arte religiosa que revelaram influências e ruturas na historiografia nacional. Confrontamos com o que os historiadores da arte nos primeiros anos do século XX nos deixaram para nos situarmos nos processos historiográficos desse tempo e conhecer o que então se escreveu sobre a História da Arte. Flávio Gonçalves, não se limitou a ser um historiador centrado na inventariação exaustiva e cronológica das obras de arte e das épocas a que se reportam. Os seus estudos tanto se centraram nas obras de arte reconhecidas, como nos objetos plásticos de menor valor artístico. Fez-nos perceber que a obra de arte, sendo uma expressão cultural, oferece à nossa crítica mais do que nos revelam as suas cores e as suas formas. Flávio Gonçalves (1929-1987) is a multidisciplinary figure. As an art historian, iconographer, iconologist, researcher, teacher, lecturer, he was selected as the object of study for the final master's thesis in Estudos do Património. As a man of science, Flávio Gonçalves is, despite all, a little known author. Nevertheless, his studies are a reference in what the process of reading and interpretation of figurative documents, essentially in the religious art is concerned. He used the iconographic method, by attentively looking and describing the visual elements, as well as the iconological method in order to explain the work of art’s deep meaning. The purpose of this study is to try to answer the question what do Flávio Gonçalves studies reveal about Portuguese religious art in the XVI and XVII centuries. Flávio Gonçalves work is extensive and, for this reason, we circumscribed the knowledge of his studies to the iconographic investigations about religious art that had revealed influences and ruptures in national historiography. We compared with the work of other historians from the beginning of the XX century to locate ourselves in the historiographical processes of that time and to get to know what has been written about Art History. Flávio Gonçalves was not just an historian focused on extensive and chronological inventorying of the work of art from the period concerned. His studies focus not only in well-known work of art, but also in plastic objects with minor artistic value. He made us realize that the work of art, as a cultural expression, offers to our criticism more than its colours and shapes.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ LAReferencia - Red F...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ LAReferencia - Red F...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Sousa, Ágata Patrícia Biga de Almeida Vieira de;

    Dissertação de Mestrado em Estudos do Património apresentada à Universidade Aberta Este trabalho debruça-se sobre a Igreja do Convento do Carmo, edifício localizado na cidade da Horta, Ilha do Faial, que se encontra há décadas encerrado ao culto e à comunidade. Alvo de obras de consolidação da estrutura na década passada, processo interrompido antes de chegar ao término, o complexo conventual resiste à actividade sísmica e ao clima açoriano. Estando a ser equacionado o retomar dos trabalhos de recuperação do imóvel, afigura-se necessário estabelecer o seu valor patrimonial, bem como agregar o conhecimento existente sobre ele. Neste âmbito, após um enquadramento histórico onde se aborda de forma sucinta o panorama histórico dos Açores, da Ordem do Carmo e deste imóvel, o primeiro templo carmelita português erigido fora do território continental, construído entre os séculos XVII e XVIII, realiza-se a descrição da Igreja do Carmo, com a análise da filiação estética do exterior e do interior nas correntes portuguesas do Estilo Chão, Barroco e Rococó (este,apenas no interior). Partindo da proposta de intervenção no edifício datada de 1999/2000, é feita a descrição do seu estado de conservação, apresentando a evolução que sofreu de 2004 a 2010, listando os trabalhos que urge efectuar e chamando a atenção para a ausência de classificação deste património imóvel. Relativamente ao património móvel que contém,apresenta-se o perfil do Monsenhor Júlio da Rosa, coleccionador faialense responsável pela preservação deste espólio durante a segunda metade do século XX, e são realizados o inventário e a análise da colecção. Por fim, reconhecendo que para garantir a sobrevivência deste património a médio e longo prazo é necessário devolvê-lo à comunidade onde se insere e, logo, encontrar uma função que sirva essa comunidade e permita a sobrevivência do edifício, simultaneamente respeitando a sua dignidade arquitectónica, urbanística e histórica, é avançada uma proposta de reutilização para este conjunto patrimonial, móvel e imóvel. Após uma contextualização sobre a reutilização de edifícios, nomeadamente de edifícios religiosos, bem como a apresentação de exemplos de edifícios de natureza inicialmente religiosa a que foram atribuídas novas funções, é avançada uma proposta de reutilização: a instalação, na Igreja do Carmo, de um museu de arte sacra. Tal reutilização adequa-se ao contexto religioso do templo, que é suficientemente espaçoso para albergar um museu, e contribui para a salvaguarda tanto do imóvel como do seu património integrado, atribuindo-lhe um uso não só público mas que se pode constituir como um contributo para a vida cultural da cidade. This work focuses on Carmo Church, located in Horta, Faial Island, which has been closed for decades. Object of structure consolidation in the past decade, process stopped before reaching the end, the conventual complex resists the seismic activity and the azorean climate. Since the resumption of the works is now being considered, it is now necessary to determine this heritage's patrimonial significance, and congregate the existing knowledge about it. In this context, following a historical framework that addresses briefly the historical background for the Azores, the Carmelite Order and of this building, the first Carmelite temple built outside the Portuguese mainland, constructed between the seventeenth and the eighteenth centuries, the Church is described, analising it's aesthetics filiation, both the exterior and the interior, in Portuguese Estilo Chão, Baroque and Rococo (inside only). Based on the intervention planned in 1999/2000 for the building, it's present condition is described, showing the process that occured from 2004 to 2010, listing the works which must be carried out and drawing attention to the lack of classification as heritage. As for the integrated heritage, a profile of Monsenhor Júlio da Rosa, Faialense collector, responsible for the preservation of this legacy during the latter half of the twentieth century, is presented, and the inventory and analysis of the collection are conducted. Finally, recognizing that to ensure its survival in the medium and long term it is necessary to return this heritage to its community, and thus find a function that may serve this community and allow the survival of the building, while respecting its architectural, urban and historical dignity, a proposal for the reuse of this heritage is advanced. After contextualizing the reuse of buildings, especially religious ones, and presentating examples of former religious buildings reused with new functions, a proposal for reuse is advanced: the installation of a museum of sacred art at Carmo Church. Such reuse is adjusted to the religious context of the temple, which is spacious enough to house a museum, and helps to safeguard both the property and its integrated heritage, giving it a public use while allowing it to be part of the city's cultural life.

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    Authors: Eunice Ribeiro; Xaquín Núñez Sabarís; Daniel Tavares;

    From an Iberian perspective, a Galician-Portuguese one, more specifically, the aim of this essay is a dialogical reading of the poetry of women-poets of our century who propose a different view of the feminine and of feminine identity, putting into play a certain theology of femininity, alongside concepts that explicitly call for the representation of the body: Anunciações [Annunciations] (2016), by the Portuguese writer Maria Teresa Horta, a novel in verse that rewrites “with all the senses” the biblical encounter between the Virgin and the Angel; and O libro da egoísta [The Selfish Woman´s Book] (2003) by the young Galician poet Yolanda Castaño, a work that integrates literary and audiovisual codes and where the reflection on identity unfolds and multiplies, returning an image built between the most intimate self and the public perception of the writer. A partir de uma perspetiva ibérica, mais concretamente galego-portuguesa, propomos neste ensaio uma leitura dialogante da poesia de mulheres-poetas do nosso século que nos oferecem uma visão outra do feminino e da identidade feminina, pondo em jogo uma determinada teologia da feminilidade a par de conceitos que convocam de modo explícito a representação do corpo: Anunciações (2016), da escritora portuguesa Maria Teresa Horta, um romance em verso que reescreve o encontro bíblico entre a Virgem e Gabriel; e O libro da egoísta (2003) da jovem escritora galega Yolanda Castaño, uma obra que integra códigos literários e audiovisuais e onde a reflexão sobre a identidade se desdobra e se multiplica, devolvendo uma imagem construída entre o eu mais íntimo e a perceção pública da autora.

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