In/Visibilities and Pseudo/Visibilities: the black woman’s portrait in the Bemposta chapel in Lisbon (1791-1792)

Detalhes bibliográficos
Autor(a) principal: Raggi, Giuseppina
Data de Publicação: 2020
Tipo de documento: Artigo
Idioma: eng
Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
Texto Completo: https://doi.org/10.21814/vista.3055
Resumo: Giuseppe Trono’s painting in the Bemposta chapel, produced in 1791-1792, is the most representative artwork related to the social policies implemented by the Queen Mary I. This article focuses on the historical and artistic analyses to frame the political and religious context, and to clarify its misunderstood iconography. The cult of the Sacred Heart, instituted in 1779 by Pope Pius VI, is crucial to reframe the meaning of the painting. The new approach offers an original interpretation of the black woman who is represented in it. Her identity and biography are brought to the light. Her subjectivity is compared to the more known biographies of the enslaved black dwarfs, who lived at the Portuguese royal court, mainly the female dwarf Rosa of the Sacred Heart, portraited in Mascarada Nupcial by José Conrado Roza (1788). Her in/visibility is compared, also, to the ‘silence’ about the black presence in the painting The earthquake of 1755 by João Glama (2nd half of 18th century).
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spelling In/Visibilities and Pseudo/Visibilities: the black woman’s portrait in the Bemposta chapel in Lisbon (1791-1792)ArtigosGiuseppe Trono’s painting in the Bemposta chapel, produced in 1791-1792, is the most representative artwork related to the social policies implemented by the Queen Mary I. This article focuses on the historical and artistic analyses to frame the political and religious context, and to clarify its misunderstood iconography. The cult of the Sacred Heart, instituted in 1779 by Pope Pius VI, is crucial to reframe the meaning of the painting. The new approach offers an original interpretation of the black woman who is represented in it. Her identity and biography are brought to the light. Her subjectivity is compared to the more known biographies of the enslaved black dwarfs, who lived at the Portuguese royal court, mainly the female dwarf Rosa of the Sacred Heart, portraited in Mascarada Nupcial by José Conrado Roza (1788). Her in/visibility is compared, also, to the ‘silence’ about the black presence in the painting The earthquake of 1755 by João Glama (2nd half of 18th century).A pintura de Giuseppe Trono na capela da Bemposta, realizada in 1791-1792, é uma das obras mais representativas das políticas sociais implementadas pela rainha D. Maria I. Este artigo centra-se na análise histórico-artística da pintura para enquadrar o contexto político e religioso da época e esclarecer o significado da iconografia, que foi equivocado pela exígua historiografia existente sobre a obra. O culto do Sagrado Coração, instituído em 1779 pelo papa Pio VI, é crucial para decodificar o significado da pintura. A nova abordagem apresenta uma original interpretação da mulher negra representada na tela. A sua identidade e a sua biografia são trazidas à luz. A sua subjetividade é comparada com as biografias mais conhecidas do grupo de anões escravizados que viviam na corte de Lisboa; principalmente com a biografia de Rosa do Sagrado Coração de Jesus, retratada na Mascarada nupcial de José Conrado Roza (1788). A sua in/visibilidade é comparada, também, com o ‘silêncio’ sobre a presença negra na pintura O terramoto de Lisboa de 1755 de João Glama, realizada na segunda metade do século XVIII.Centro de Estudos de Comunicação e Sociedade (CECS) da Universidade do Minho2020-06-30T00:00:00Zinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articlehttps://doi.org/10.21814/vista.3055eng2184-1284Raggi, Giuseppinainfo:eu-repo/semantics/openAccessreponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAP2022-09-21T15:55:49Zoai:journals.uminho.pt:article/3055Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T15:56:40.884115Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse
dc.title.none.fl_str_mv In/Visibilities and Pseudo/Visibilities: the black woman’s portrait in the Bemposta chapel in Lisbon (1791-1792)
title In/Visibilities and Pseudo/Visibilities: the black woman’s portrait in the Bemposta chapel in Lisbon (1791-1792)
spellingShingle In/Visibilities and Pseudo/Visibilities: the black woman’s portrait in the Bemposta chapel in Lisbon (1791-1792)
Raggi, Giuseppina
Artigos
title_short In/Visibilities and Pseudo/Visibilities: the black woman’s portrait in the Bemposta chapel in Lisbon (1791-1792)
title_full In/Visibilities and Pseudo/Visibilities: the black woman’s portrait in the Bemposta chapel in Lisbon (1791-1792)
title_fullStr In/Visibilities and Pseudo/Visibilities: the black woman’s portrait in the Bemposta chapel in Lisbon (1791-1792)
title_full_unstemmed In/Visibilities and Pseudo/Visibilities: the black woman’s portrait in the Bemposta chapel in Lisbon (1791-1792)
title_sort In/Visibilities and Pseudo/Visibilities: the black woman’s portrait in the Bemposta chapel in Lisbon (1791-1792)
author Raggi, Giuseppina
author_facet Raggi, Giuseppina
author_role author
dc.contributor.author.fl_str_mv Raggi, Giuseppina
dc.subject.por.fl_str_mv Artigos
topic Artigos
description Giuseppe Trono’s painting in the Bemposta chapel, produced in 1791-1792, is the most representative artwork related to the social policies implemented by the Queen Mary I. This article focuses on the historical and artistic analyses to frame the political and religious context, and to clarify its misunderstood iconography. The cult of the Sacred Heart, instituted in 1779 by Pope Pius VI, is crucial to reframe the meaning of the painting. The new approach offers an original interpretation of the black woman who is represented in it. Her identity and biography are brought to the light. Her subjectivity is compared to the more known biographies of the enslaved black dwarfs, who lived at the Portuguese royal court, mainly the female dwarf Rosa of the Sacred Heart, portraited in Mascarada Nupcial by José Conrado Roza (1788). Her in/visibility is compared, also, to the ‘silence’ about the black presence in the painting The earthquake of 1755 by João Glama (2nd half of 18th century).
publishDate 2020
dc.date.none.fl_str_mv 2020-06-30T00:00:00Z
dc.type.status.fl_str_mv info:eu-repo/semantics/publishedVersion
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
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dc.publisher.none.fl_str_mv Centro de Estudos de Comunicação e Sociedade (CECS) da Universidade do Minho
publisher.none.fl_str_mv Centro de Estudos de Comunicação e Sociedade (CECS) da Universidade do Minho
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repository.name.fl_str_mv Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação
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