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The Contemporaries of Antonio Francisco Lisboa: An Annotated BibliographyAuthor(s): James E. HoganSource: Latin American Research Review, Vol. 16, No. 3 (1981), pp. 138-145Published by: The Latin American Studies AssociationStable URL: http://www.jstor.org/stable/2502919 .

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7/21/2019 2502919


THE CONTEMPORARIES

OF

ANTONIO FRANCISCO LISBOA:

An Annotated

ibliography

James

.

Hogan

HolyCross ollege

It s generallygreed hat heartistic orld feighteenth-centuryrazil

was dominated y

the

sculptor/architect,

ntonio rancisco

isboa-

O Aleijadinho the

ittle

ripple )-who

has been

called

one of the

most mportant

rtists

ver to

develop

n

Latin

America.

he

peculiar

circumstances

f his

life,

combinedwith his obvious artistic enius,

have resulted

n

considerable

cholarlynterest

nd

study.The anno-

tated bibliography hat broughtAleijadinhoscholarship rom1940

through

1973,

in

combinationwith

the earlier

bibliographiesof Martins

and

Smith-Wilder,

rovides relativelyomplete

hroniclingf works

dealing xclusively ithA. F. Lisboa.

The study

of

Aleijadinho,however,

hould be set

against

he

general

ultural

nvironmentf

Minas

Gerais

n the late

eighteenth

century,

nd should

make

reference

o the

other

eading

artists nd

artisans

f the

day,

with

whom t

is

presumed

isboa interacted. he

object f thepresent

esearchs to broaden

he

bibliographic

ase

pro-

videdby previous

works.One result f this

tudy

was

the

unfortunate

discovery

hat

he

research one to

date

on

the

contemporaries

fAlei-

jadinho

s

scarce, cattered,

nd difficulto retrieve. ne can

onlyhope

that, s scholars illnmore fthegaps nthe tudy fLisboa, heywill

then

begin

o

shift heir ttentiono his

contemporaries.

An

attempthould lso bemadetoevaluate hedegree o which

Lisboa nfluenced

nd

was

influenced

y

his

contemporaries.

t

s

recog-

nized

that he

rtistic

lowering

f

he

eculo

oourowas

produced y

the

scores

of

artists

who flocked o

Minas Gerais

n

the

years

after he

discoveries f gold (1698)

and

diamonds 1729).

With he exception f

Lisboa,

nd to

a lesser

degree

Manuel

da

Costa

Ataide

1762-1830),

ar

too

little

ttentionas

been

paid totheseartists. ntil ecentlyt was

difficulto obtain ven thebriefestitsofbiographicalataonmany f

them.

Now,

however,

we have

the

magnificent

iciondrio

rasileiro

e

Artistas

lasticas,

which

provides

a wealth

of

nformation n

artists

oth

obscure

nd

famous

see

Cavalcanti

973).

It

has long

been

known

hat

Ataide,

ne oftheforemost ineiro

138






7/21/2019 2502919


RESEARCH REPORTS AND NOTES

painters,did the interiors f many of the churches

designed by Lisboa.

Far less, however, s known

of

the dozens of other rtists nd craftsmen

who contributed o

Lisboa's

works.

In

some instances

their

contribu-

tions amounted nearly

to

what could be

termed

oint

efforts. or in-

stance,

the

sculptor/painter

anuel

Goncalves Braganca

worked

on

the

Church of Bom

Jesus

do

Matozinhos,

where the twelve

prophets

of

Aleijadinho stand;

for

many years, Braganca's

work was

erroneously

attributed o Lisboa. One researcherhas

even

suggested

that

the

archi-

tectural

nd

engineering fforts

f Tomaz de Maria

Brito

on

Bom

Jesus

do Matozinhos were

specifically esigned

to receive

the

statues of

the

prophets see Reis 1939).

The

greatpainterJoao Nepomuceno

Correia

e

Castro

worked on the

same

church nd is

considered, along

with

Ataide,

one of the foremost razilianpaintersoftheentire olonialperiod. Cer-

tainly,

hese

types

of nteractionsmust have tended

toward

the

blending

of artistic

nfluence.

It is quite remarkablethat a genius such as

Lisboa's could have

developed

in

what

was certainly ne

of

the more

remote cornersof the

eighteenth-century

orld.

Where he learned his craft nd how he be-

came so

intimately amiliar

with

the European styleof his

day-the style

we now call

baroque-is

a

major problem

for rt

historians.

t

is

known

thatAleijadinho learned much fromhis

European-trained father,Ma-

nuel Francisco Lisboa (?-1767), about whose lifeand works very little

researchhas

been

conducted. It

has also been assumed thatthe sculptor

,and

woodcarver,

Francisco

Xavier

de

Brito

?-1751), exerted a great

n-

fluence on the

early

artistic

evelopment

of

Lisboa. The works of

Gra-

ziano

Gasparini (1972)

and

Robert C. Smith

(1948, 1968, 1969, 1973)

attempt

o draw

links between

Lisboa

and

the practitioners f

the

ba-

roque style

in

Europe, especially Portugal. The

eminent Brazilian art

critic,Rodrigo

Melo Franco de

Andrade,

has detected

three

principle

artistic nfluences on

Lisboa: his

father,

M.

F.

Lisboa; the artist,Joao

BatistaGomes; and the woodcarver,Jose Coelho Noronha.2

It

is hoped thatthe materialsbrought

ogether elow will help fu-

ture cholars rrive t a clearer

understanding

f

he

ife nd

genius

of

hat

remarkable

rtist, isboa.

To

the best

of

my

knowledge,

this s the first

attempt

o

provide

a

bibliography

f this

mportant,

f

scarce,

material.

NOTES

1.

James Hogan, Ant6nio

FranciscoLisboa,

'O

Aleijadinho': An Annotated

Bibliog-

raphy, LARR

9,

no. 2 (1974):83-94; Judith

Martins,

Apontamentos para

a Bib-

liografia Referente

a Ant6nio Francisco

Lisboa,

Revista do S.P.H.A.N.,

no. 3

(1939):179-205;

Smithand Wilder

1948).

2. Much

of the work of this type

has been eitherfunded

or at least encouraged by

the

Servico

do Patrim6nioHist6rico

e

Artistico

Nacional (S.P.H.A.N.),

and

the reader

139






7/21/2019 2502919


Latin

American

esearch

eview

will find itations o many

rticles romts

Revista nd

Publicaq6es

n thisbibliog-

raphy.

BIBLIOGRAPHY

Aires, Mata Machada Filho

da.

Arraial

do

Tijuco, Cidade Diamantina. Rio

de

Janeiro:

Publicac6es

do

Servico

do PatrimonioHist6ricoe Artistico

Nacional

(Ministerio

da

Educa,co

e

Saiude),

no. 12

(1944).

A

history

f the Mineiro town

of

Diamantina,

with a discussionofdaily

ife n

the

eighteenth

entury,

s

well

as

a

commentary

n the art

and

architecture f

the

region.

Alden,

Darril, editor. Colonial

Roots ofModern Brazil.

Berkeley:

Universityof

CaliforniaPress,

1973.

Amaral,

Aracy

A.

A Hispano

na Arte

eiscentista

o

Brasil. Sao

Paulo: EditorCom-

unicac,es

e

Artes,

1972.

Andrade, Rodrigo Melo Franco de. Contribui,cao ara o Estudo da Obra do

Aleijadinho. Revista

o

S.RH.A.N.

3,

no.

2

(1938):255-97.

Commemorates

the

centennialof

the

birth

f

Lisboa. This article

was

responsible

for etting ff

he

twentieth-century

nterest

n

the artist.

t

contains

photocopies

of

receipts

nd

commissions

of

Aleijadinho

and stands as

the

first

eal

attempt

o

bring

mod-

ern

scholarship

to

the

study

of

Aleijadinho,

in

an

effort o separatefactfrom

myth.

Arinus,

Afonso Melo Franco

de. Desenvolvimentoa Civilizafao

Materialno

Brasil.

Rio

de

Janeiro:

ublica,bes

do

Servi,o

do

Patrimonio

Hist6rico

e

ArtisticoNa-

cional (Ministerio

u

Educac,o

e

Saude),

no. 11 (1944). A chronological

history

of

Brazil.

The

chapter

on

the

eighteenth

century

deals

with

the

settlement

yearsof Minas Gerais butoffersittle hat s new.

Avila, Affonso.

0

Ltidico as Projecoes

o Mundo Barroco.Sao

Paulo:

Editora

Perspectiva,

1971.

.

Residuos

Seiscentistas

em

Minas: Textos

do

Seculo

do

Ouro

e

as

Projece05es

do

Mundo Barroco.

vols.

Belo Horizonte:

Universidade

Federal

de

Minas

Gerais,

Centro

de Estudos

Mineiros,

1967.

Bandeira,

Manoel.

Guia

de Ouro

Preto.

Rio

de

Janeiro: ublicac,es

de

Servico

do

Patrim6nioHist6rico

e

ArtisticoNacional

(Ministerio

da

Educac,o

e

Sauide),

no.

2

(1938).

.

Manuel da Costa

Ataide,

Dourador. Revista

do

S.PH.A.N. 3,

no.

2

(1938):149-50.

In

a letter,

he

author reproduces

an originalcontract o

prove

his thesisthatthe altarsof the ChurchofOur Lady of Carmo in Ouro Preto

were

paintedby

Ataide.

Barboza,

AntBnio

da Cunha.

Aspectos

da

Arte Brasileira

Colonial. Revistado

Instituto

istorico Geogrdficorasileiro 1,

pt.

1

(1898):89-154.

Bardi,

Paulo

M.

Hist6ria a

Arte

Brasileira:

intura, scultura,

ArquiteturaOutras

Artes. Sao

Paulo:

Edic,es

Melhoramentos,

1975. A beautifulvolume

dealing

with all aspects of Brazilianart history.

Of special interest

o this studyare

chap.

3

( O TransplanteBarroco, ),

4

( O Seculo

do

Ouro ),

and 5

( O

Magistral

Aleijadinho ).

There

s a short ection

on the

baroque painters

who,

the author

claims,

are

still

not

being studiedas they hould

(p. 135). The

chap-

ter

on

Lisboa offers ittle hat

s new,

but

it

treats

he known

quite well.

The

work s lavishly llustratednboth colorand black and white, s well indexed,

but

lacks

a

bibliography.

Barreto,

Paulo Thedim.

Analise

de

Alguns

Documentos Relativos a Casa

de

Cfamara

Cadeia

de

Mariana.

Revista

o

S.

PH.A.N., no.

16

(1968):219-51.

An

examination

of

several

eighteenth-century

fficial

documents.

Several

deal

with

commissions

granted

to

the Lisboas, Brito,

nd

Jose

Pereirados Santos.

140






7/21/2019 2502919


RESEARCH REPORTS AND

NOTES

Batista,

Nair.

Valentim da

Fonseca e Silva. Revista do S.P.H.A.N., no. 4

(1940):271-325. A discussion of the life and work of Maestro

Valentim,the

painter.

Excellent

bibliography.

Bayon, Damian. Les Baroques en Amerique du Sud: Le Nord-Est. Bresilien

Face au Domaine Hispanique.

Cahiers 'HistoireMondial UNESCO, Paris) 13

(1971):133-51.

Bazin, Germain. L'Architecture

eligieuse

aroque

u Bresil. Sao Paulo: Museu de

Arte,1955.2 vols. A

monumental urvey of Brazilian architecture. hapter 11

deals

with

Minas Gerais

and

begins with a discussion of

Antonio Francisco

Pombal and his

brother,

Manuel

Francisco Lisboa (the father f

Aleijadinho).

There is a list of the elder

Lisboa's principleworks with discussion, photos,

and

floor plans for each. The

section dealing

with the

second

half of the

eighteenth entury ontains short

biographical

ketchof each of the

principle

contemporaries

f

Aleijadinho.

There

follows a detailed architectural

escrip-

tion of his principleworks. Volume2 is a monument-by-monumentatalog,

arranged geographically. he description f each monument s

followedby its

principlebibliographical ources.

Bishop, Elizabeth. Brazil. New York:Time, 1967.

Brazilian

aroque:

Decorative nd

ReligiousObjects f theSeventeenthndEighteenth

Centuries. Prefacio

de

Pedro Oliveira

Ribeiro

Neto.) Sao Paulo,

1972.

Bruana,

Yves. Barroco

e

Rococ6 na

Arquitetura

de Minas

Gerais.

Dedalo,

Re-

vista

de Arte

Arqueologia

Junho

966):13-33.

Bury,John.

The Little

Cripple. World eview

1951), pp.

29-37.

Carvalho, Benjamin

de.

Duas

Arquiteturas

o

Brasil.

Rio

de

Janeiro:

ditora

Civili-

zacao

Brasileira

.A.,

196-1.

Retratos

do

Brasil,

vol.

8).

An

overview of Brazil-

ian architecturewithparticular mphasis on the transmission f thebaroque

style

from

Europe

to Brazil.

Chapter

5

contains

a

good

discussion of most of

the

architectural erms

nd a limited

bibliography.

Castedo, Leopoldo.

Latin American

Painting

nd

Sculpture.

In

LatinAmercia

and

the

Caribbean: Handbook,

dited

by

Claudio

Veliz, pp. 795-801.

New

York:

Praeger,1968.

Cavalcanti, Carlos,

coordinator.

Diciondrio rasileiro e Artistas ldsticas.

Brasilia:

Instituto

Nacional do Livro

(Ministerio

da

Educac,o

e

Cultura),

1973. 5 vols.

Indispensable

to the

student of Brazilian art.

The

arrangement s

dictionary

with thousands of

entries,plus 1,500

illustrations. ncludes

even

the most

obscure

artists.This work now

supersedes

all

previous

such

compilations.

Charles,Geo. L'ArtBaroque u

Bresil.

Paris: Editions nternationales, 956.A dis-

cussion

of Brazilian

baroque

art

n

general,

with a

heavy emphasis

on

the

state

of Pernambuco.

Chapter

5 is devoted

to

Minas

Gerais.

The

listing

f

principle

Mineiro

artists

s

confusing e.g., by

Francisco

Xavier,

does the

author mean

FranciscoXavier

de

Brito?).

The

short

ection on

Aleijadinho

adds little hat s

new. There

is

also a brief

atalog

of the

principle

ites

of

Mineiro

baroque

art.

Costa,

Lucio.

A

Arquitetura

de

Antonio

Francisco Lisboa Revelada no Risco

Original

da

Capela

Francisciana de

Sao Joao

de

Rei.

In 0

Aleijadinho.

Rio

de

Janeiro: ublicac,es

da

Diretoriado

Patrimonio

Hist6rico

e

Artistico

Nacional,

no. 15

(1951).

.

Risco

Original

de

Antonio

FranciscoLisboa.

Revista o

S.PH.A.N.,

no.

17 (1969):239-42. The firstknown assignmentof Aleijadinho was fromhis

father,

Manuel Francisco

Lisboa,

in

1752,

when the ad

was fourteen

ears

old.

Curtis,J.

N. B. de.

Brasil, Seculo

XVIII:

Arquitetura.

Revista

o

Instituto

e

Es-

tudosBrasileirosUniversidade

de

Sao Paulo)

8

(1970):19-28.

Del

Negro, Carlos. Contribuifaoo

Estudo

do

PinturaMineira.Rio

de

Janeiro:

ub-

licacoes

do

Servicio

do

Patrimonio

Hist6rico

e

Artistico

Nacional,

1958.

An

141






7/21/2019 2502919


LatinAmerican esearch eview

analysis (churchby church)

of

Mineiro

colonial

painting,with special empha-

sis on

the

works

of Manoel da

Costa Ataide,

who

painted the nteriors f many

of Aleijadinho's most famous architecturalworks. The author provides a

chronological istof the most importantworks attributed o Ataide. Includes

fineblack-and-white llustrations nd an index of painters nd illustrations.

Ferez, Gilberto.

A

Fotografiano Brasil. Revistado S.PH.A.N., no. 10 (1946):

169-297. An interesting istory f photography n Brazil. Contains some of

the earliestphotographsever published of Ouro Preto, Sao Franciscode Assis

(Ouro Preto),

the

wooden statues

of

Aleijadinho (Congohas do Campo), and

Diamantina.

Gasparini,Graziano. Amrica, barroco

arquitectura.

aracas: ErnestoArmitano

Editor, 1972. Chapter 9 deals with Brazil and pp. 476-517 deal with Minas

Gerais.

The author

admits

that

Aleijadinho

was a

great

artist

ut

casts doubt

on theoriginality f his works.He feels that Lisboa relied more heavily than

had been thoughton the workofAndre Soares de Braga. Good black-and-

whitephotos of thework of both men.

La glesia elBom esus atozinhos,inasGerais, rasil.nstitutonteruniversitario

de Hist6ria de la Arquitectura, 971.

Jardim,

uis.

A

PinturaDecorativa em

Algumas Igrejas Antigas de Minas. Re-

vista do S.PH.A.N., no. 3 (1939):63-102. An analysis of decorative painting

from he

churches of Minas Gerais. Contains a briefmentionof Ataide.

.

A

Pintura

do

Guadamor JoseSoares de Arauju em Diamantina. Revista

do S.PH.A.N., no. 4

(1940):155-77. A discussion of the effect n Brazilian rtof

the presence

n

Minas Gerais of Soares, one of the eading Portuguesepainters

of

the

time.

Laclette, Rene. O Aleijadinho e Suas Doencas. Revistado S.PH.A.N., no. 17

(1969):127-76.

A detailed

physical description

of

the

debilitating

llness

of

Aleijadinho.

It is based

largely

on

the

accounts

of Ferreira

Bretas

and

of

the

earlynon-Brazilian

visitors

o

Minas

(Burton,Luccock, Saint-Hilaire,

nd von

Eschwege). The

author

also

examines

many

of

the

previous

medical treat-

ments of Lisboa.

A

good bibliography

n

this

specialized subject

that ontains

many tems probably mpossible to obtain

outside of Brazil.

Lefevre,Renee,

and

Vasconcellos,

Silvio

de.

Minas: CidadesBarrocas.

ao

Paulo:

Companhia

EditOra Nacional

[and]

Editora

da

Universidade

de

Sao Paulo,

1968.

Levy,

Hannah.

Modelos

Europeus

na Pintura

Colonial.

Revista

o

S.PH.A.N.,

no. 8 (1944):7-66. The author stressesthe influenceofEuropean models on

the

works

of colonial

Brazilian

painters.She suggests

the works which Manuel

da Costa Ataide had in

mind

when he

executed

the

interiors

f

Sao Francisco

de

Assis

in

Ouro Preto. She also discusses the derivation f the works of Man-

uel Antonio

da

Fonseca

and

Joao Nepomuceno Correia e Castro.

Lima,Augusto

e

(Junior). CapitaniaasMinasGerais: uas OrigensFormaaiio.

Lisboa: Americana,

1940.

Linguanotto,Daniel. DescubraOuroPreto.Sao Paulo: EditoraCultura,1972.

Lopes,

Francisco

Antonio.Hist6ria

a

Construcaqao

a

Igreja

o

Carmo

e

Ouro

Preto.

Rio de

Janeiro:

PublicaqOes

do Servico do PatrimanioHistorico

e

Art-

istico Nacional

(Ministerio

da

Educacao

e

Sauide),

no.

8

(1942).

Machado, LourivalGomes. Conquista eCongonhas. ao Paulo, 1960.

. BarrocoMineiro.Apresentafao

e

Rodrigo

Melo Franco

de Andrade.

Sao

Paulo: EditOra

Perspectiva and]

Universidade

de

Sao Paulo,

1969.

Mariano, Jose Filho).

A

Proposito

da Escola

de Arte

de

Vila Rica.

Jornal

o

Co-

mercioRio

de

Janeiro),

5 de maio

de

1941,

p.

5.

142






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RESEARCH REPORTS AND NOTES

Matias, Herculano Gomes. A

Coleqao

da Casa dos Contosde Ouro Preto. Rio de

Janeiro:Arquivo Nacional, 1966.

Mattos, Anibal. MaestreValentim OutrosEstudos.Belo Horizonte: Apollo, 1934.

. Monumentos Hist6ricos Artisticos Religiosos de Minas Gerais. Rio

de Janeiro:Ministerio

de

Cultura, 1936.

. As Artesnas grejas e Minas Gerais.

BeloHorizonte: dic6esApollo, 936.

. Dois Artistas do Periodo Colonial Brasileiro (Estudo Hist6rico e

Biografico e Maestre Valentim Aleijadinho).

. Hist6ria a ArteBrasileira. elo Horizonte: BibliotecaMineira de Cultura,

Edicoes Apollo, 1937. Almost a third pp. 179-310) of this book deals with the

art of colonial Minas Gerais.

Many poor-qualityphotographs

and little hat s

new on eitherAleijadinho or his cultural nvironment. n a footnote, he au-

thor mentions that

he had

in

preparationa work on Aleijadinho, but

I

have

been

unable

to locate such a work.

Ministerioda Educacao e Sauide.Ant6nio rancisco isboa0 Aleijadinho.Rio de

Janeiro: ublicacoes

do

Servicio

do

Patrim6nio

Hist6rico e

Artistico

Nacional,

1951. In additionto a short ssay on the architecture f Lisboa, this book con-

tains the originalbiographical tudy of Aleijadinho done by Rodrigo Jos6Fer-

reira Bretas in 1858, and nearly fifty ages of rather good black-and-white

photographs

of

Lisboa's

work.

Palestro

Proferida

por

R.

M.

F.

de Andrade em Ouro Preto.

Comemoracao

do

257 Aniversario

de

Elevacao [de Ouro Preto] a Categoria

de

Vila. Revistado

S.PH.A.N.,

no. 17

(1968):11-26.

An

interesting

ummation

of the

colonial

art

and and architecture

f

Minas Gerais.

Reis, Jose

de

Sousa. O Adro

do

Santuario

de

Congonhas. Revista

do

S.RH.A.N., no. 3 (1939):207-23. Fine black-and-whitephotographs of the

twelve prophets,with a discussion of the planning of the Church of Bom Jesus

of Matozinhos in

Congonhas

do

Campo.

The

author

points

out that the adro

was first egun

in

1777 by Tomaz de Maia Brito,while the prophetswere

exe-

cuted

in

1807. Thus,

the author

argues

thatthe adro was

done in

preparation

for he

prophets.

Rocha, Gladson

da

et

al. Latin

American

Architecture. n

LatinAmerica nd the

Caribbean:

Handbook,

dited

by

Claudio Veliz.

New

York:

Praeger,

1968.

Santos,

Paulo.

F.

0

Barroco

o

Jesuitico

a

Arquitetura

o

Brasil.

Rio

de

Janeiro:

iv-

raria

Kosmos Editora,

1951.

Scheirer,

Peter.

magens

do

Passado

de

Minas Gerais.

Fotos

[de]

Versao

[de]

John

Knox. Dois depointmentos titulode apresentacao de Mario Baretae Orlando

Seitas Fernandes. Rio

de

Janeiro:

ivraria

Kosmos

Editora,

1968.

Silva-Negra,

Dom Clementa Maria da. ArtistasColonias

Mineiros.

Revista

e

Hist6ria Sao Paulo),

ano

2,

no. 6

(1951):411-19.

Sitwell,

Sacheverell. Southern

aroque

Revisisted.

ondon:

Weidenfeld

nd

Nicol-

son,

1967.

Smith,

Robert

C.

TheArt

ofPortugal, 500-1800.

London: Weidenfeld

nd Nicol-

son,

1968.

. Arquitetura

Civil do Periodo

Colonial. Revistado S.RH.A.N., no. 17

(1969):27-126.

A

discussion

of

civil, as opposed to religious, architecture

n

colonialBrazil.

.

Congonhas

o

Campo.

Texto de

Robert

C.

Smith.

Fotos

de Marcel

Gauth-

erot

e

R.

C.

Smith. Rio

de

Janeiro:

Artes

Graficas nduistrias

Reunidas

S.A.

(AGIR),

1973. Beautifulblack-and-white

hotographs

and an excellent ntro-

ductoryessay by Smith

in

which he

stresses

the

great similarities etween

Aleijadinho's

work at

Congonhas 'and

the Bom

Jesus

of

Braga (Portugal),

143






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Latin

American

esearch

eview

largely

xecuted by Andre

Soares. The comparison s

continued

n

thephoto-

graphs. Smith

concludes that in

sheer artisticmerit

the work of

Lisboa is

clearly

uperior.

Smith,RobertC., and Wilder,Elizabeth, editors.A Guide to the ArtofLatin

America.

Washington,

D.C.:

Library

f

Congress, 1948.

Spangenberg,

Elsa Mendez.

Ensayo

sobre rte colonial n

Minas

Gerais.

Madrid:

Maldonado, 1952. A narrative

history

f Minas Gerais.

Unlike other

authors,

who trace

Brazilian baroque

directly

to

European origins

transmittedvia

paintings and drawings,

Spangenberg says aparece

en

Minas un bar-

roquismo nativo, un arte

brasilero, donde

los elementos 6tnicos

se

mezclan,

arte

que

es el fruto e tres

razas-europea, india,

y africana,

ue llegan

a

criar

influidaspor el medio un

arte nuevo

contribuci6n

e

cultura la

evolucion so-

cial del pueblo

minero

(p. 30). A short ection on A. F.

Lisboa dwells on his

illness but

does connect him with

the work of several other

artisans (Joao

Gomes Batista,FelixJoseda Rocha, Jorge e Almeida, Joao Soares de Araujo,

Manoel da Gama Vilas

Boas, Manoel

RibeiroGuimaraes,

Jose

Rodriquez de

Oliveira, and Manoel

da Costa

Ataide).

Terry,

dward

Davis, editor.

Artists nd

Writersn theEvolution

fLatin

America.

University:

University

f

Alabama

Press,

1969.

Trindade,

Conego Raimundo.

Ourives

de

Minas

Gerais

nos

Seculos XVIII

e

XIX.

Revista

do

S.PH.A.N., no.

12

(1955):107-49. Documentation

of

the fa-

mous Mineiro

goldsmith,Joao

de

Lima,

as well as a

documented ist

of

all

the

otherofficial

oldsmiths

of

Minas

Gerais.

Igreja das Merces

de

Ouro

Preto;

Documentos do

seu

Arquivo.

Revista

do

S.PH.A.N.,

no. 14

(1959):161-283. A

history

of the Church of

Mercy

of

Ouro Preto,founded by the Sisters ofMercy.A detailed descriptionof the

work

performed y each

of

the

artistswho were engaged in the

construction

of the

church,

which was

begun

in

1731.

Accompanied by

265 documents

dealing

with

the actual construction

receipts, ists of

workmen,

contracts,

etc.).

Valladares, Clarival

do Prado.

O

Eciimenismo na

Pintura

Religiosa

Brasileira

dos

Setecentos. Revista

o

S.PH.A.N.,

no.

17

(1969):27-59.

.

RevelaCao

tica do

BarrocoMineiro.

Documentac,ao congraficia;

etalhes

de

alguns exemplos do barroco mineiro

compreendendo

pintura,

escultura e

arquitetura

do meado

setencentista do

primeiro uartel

do

seculo

XIX,

em

varias cidades

de

Minas.

Brasilia:Ministerioda

Educaclio

e

Cultura, 1973.

Valladares, Jose. Arte Brasileira;Publicaq6es 1943-1953. BibliografiaComen-

tada com Indice

Remissivo.

Revista

do

S.RH.A.N.,

no. 10

(1945):107-34.

A

general

bibliography

f

publications on Brazilian art over a

ten-yearperiod.

The emphasis is

on

thestateof

Bahia, butthere re entriesfor

Minas Gerais.

.

Estudos

de Arte

Brasileira.

alvador,

Bahia: Museu

do

Estado

de

Bahia,

publicacao

15

(1960).

Vasconcellos, Salomao de.

Oficios

Mecanicos em Vila Rica

durante o

Seculo

XVIII.

Revista o

S.P.H.A.N., no.

4

(1940):331-60.

An

examinationofthe rec-

ord

books

of

the

pubic

worksdepartment,

howing works

commissioned. n-

cluded are

carpenters,

sculptors,

and bricklayers.There

are

references to

commissions

granted to

Aleijadinho and several of the

other

prominent

Mineiroartists. tmustbe remembered hat,because of his color,Lisboa was

forced to

receive

many

of

his

commissions

through proxies.

This makes the

detectivework a

bit more

difficult.

.

Como

Nasceu

Sabara.

Revista

de

S.P.H.A.N.,

no.

9

(1945):291-330.

A

discussion

of the

founding

of

Sabara,

a

town

thathouses

many

of

the

Mineiro

art

treasures. Covers the

years1701-1721.

144






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RESEARCH

REPORTS

AND NOTES

. Como Nasceu Ouro Preto: Sua

Formaqao

Cadastral desde 1712. Re-

vista o S.P.H.A.N.,

no. 12

(1955):177-232. fascinatingccount f theearly

layout fOuroPreto,with street-by-streetescription. efind, or nstance,

that n Rruada Cadeia Velha, arte o sul,resided ne ManuelFrancisco is-

boa.

Vasconcellos,ylviode. VilaRica:Formafao

Desenvolvimento,

esidencias.io de

Janeiro:

inisterio a

Educaao

e

Cultura,nstituto

acional

do

Livro, 956.

.

Arquitetura,

ois Estudos. ao Paulo: Estadual

do

Livro,

1959. The second

ofthe

wo

studies eals

with

olonial onstructions

n Minas

Gerais nd con-

tains discussion

f the

development

f

Lisboa's

art

s

influenced

y Joao

GomesBatista nd

Luiz Camilode OliveiraNeto.

.

Arquitetura

o

Brasil: SistemasConstrutivos.

ed. rev.

Belo Horizonte:

Universidade

e

Minas

Gerais,

scolas

de

Arquitetura,

961.

145

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