A compreensão de Filipe Nunes acerca da pintura e dos seus elementos "técnico-científicos" no tratado Arte da pintura, symmetria e perspectiva, Lisboa, 1615

• Autor(a) principal: Renata Nogueira Gomes de Morais
• Data de Publicação: 2014
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Institucional da UFMG
• Texto Completo: http://hdl.handle.net/1843/BUOS-9UQRYU
• topic: Liberalidade; Nobreza; Simetria; Cientificidade; Pintura; Perspectiva; Medida; Representação; Nunes, Filipe, 15 16 Arte da pintura, symmetria e perspectiva; Perspectiva; Pintura; História; Simetria (Arte)

This research aims to investigate the way the Portuguese Filipe Nunes understood painting, symmetry and perspective in his treatise: Art of Painting, and Symmetria Perspective, published at Lisbon in 1615 As occurred commonly, this edition was published along the Art of Painting, the Art Poetics, a treatise whose purpose was to teach the metric. In 1767 the Art of Painting is edited again, however, we excluded the Poetic Art. It is observed that the treated paint Filipe Nunes is concerned to defend to defend the painting as a liberal and noble art and, therefore, uses the examples of Iberian and Italian treatises, which had the same concern. It is understood that the treaty Nunes was relevant because it was written in a cultural context in which the painters demanded his release from cooperatives guardianships, which categorized them as artisans. Moreover, similarly to scientific treatises of his time, Filipe Nunes draws attention to the elements that gave scientific painting, such as perspective and symmetry are important for the pictorial practice. To support our goal elucidate about their life histories and the cultural universe of scientific, artistic, which surrounded him during the writing of the treaty. Amid the meager production treaties Portuguese painting, draws attention the fact that a religious professed in the Convent of Santo Domingo de Lisboa since 1591, became interested in painting and want to teach some aspects, such as perspective and symmetry considered central to the period. Furthermore, it is emphasized that the treaty is also a technical manual, guiding the painters the know-how, the secrets present in the art of painting. The main sources that anchored this work were the treaties of painting, with which Filipe Nunes spoke and referenced throughout his reflection.