¿Fueron las esculturas un debil instrumento de nacionalización en Portugal? Revolución y monarquía en Portugal y provincias, 1820-1910

• Autor(a) principal: Zozaya-Montes, Maria
• Data de Publicação: 2021
• Tipo de documento: Artigo
• Idioma: spa
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: http://hdl.handle.net/10174/28766; https://doi.org/María Zozaya-Montes «¿Fueron las esculturas un debil instrumento de nacionalización en Portugal? Revolución y monarquía en Portugal y provincias, 1820-1910» Cadernos do Arquivo Municipal (Lisboa),Nº 15, 2ª Série (janeiro-junho 2021), pp. 97-120. Online: http://arquivomunicipal.cm-lisboa.pt/fotos/editor2/Cadernos/2serie/15/08_patrimonio.pdf https://dx.doi.org/10.48751/CAM-2021-1572; https://doi.org/https://dx.doi.org/10.48751/CAM-2021-1572
• topic: Arte; Esculturas; Historia; Politica; Estado-Nación; Rapública; Heroes; Intelectuales; Portugal; Spain; Liberalismo; Republica

This research analyzes the sculptures of Portugal during the monarchical constitutional liberalism (1834-1910). From the perspective of social history, the sculptures are analyzed, considering one of the great forgotten matter in contemporary Portuguese studies. The objective is to explore the role played by the statues in the creation of the Nation-State. In the first place, we establish a cultural-historical vision that allows understanding the importance of these monuments in the public space. Second, from a perspective of power and gender, we approach the sculptural art made at that time. Third, we bring to light the monuments and busts made by then on the representatives of the Estate or the «res publica» at that time. The investigation concludes, on the one hand, that the political sculptures of monarchs such as Pedro IV, Maria II and their descendants, achieved a weak nationalization of the constitutional monarchical State in Portugal. On the other hand, by analyzing the busts of politicians and heroes, it considers that sculptural art opened the door to other representatives of the common good. Their sculptures could be interpreted by citizens as a way of democratization, indicating that the people were allowed to reach power, creating a symbolic environment that could justify the arrival of the Republic.