Josefa de Óbidos and the invention of the Portuguese Barroque temporary exhibition at Museu Nacional de Arte Antiga, Lisboa - The 20th of June 2015

The temporary exhibition of Josefa de Obidos, which I was keen on seeing, provided viewers with a thorough insight into who she really was as far as painting in Portugal is concerned, together with the role she played in regards to the Portuguese Barroque painting, of which she became the most highly reputed exponent in Portugal.


In one of the several exhibit galleries a series of life still paintings set the painting scenario of the epoch in regards to the compositions, which in Spain (through 1630-40) had in Francisco Barrera one of the greatest inspirations, which in turn followed similar Flemish model schemes including allegorical personifications of each season and displayed fruits to be found at a particular time of the year.

Still life with fruits, birds and landscape by Juan Van der Hamen y Léon - 1632 (left). Summer (from the series Four Seasons) by Francisco Barrera - 1638 (right).

 

Still life with a basket of cherries and a basket of apricots by Juan Sanchéz Cótan - 1600

A series of still life paintings in the manner of the Sevillan bodégon by Josefa de Óbidos and/or her father evoking the months of the year did naturally catch the viewers' attention, not only because they were made more understandable thanks to the inscriptions placed underneath the major theme of the composition adapted to motifs of the represented season but also because of the reference to festivities therewith associated, which most people would identify themselves with.

 

 

 

March by Josefa de Óbidos and/or Baltazar Gomes Figueira - oil on canvas - 1668 (left). April by  Josefa de Óbidos - 1668 (right)

 

Still life with cakes by Baltazar Gomes Figueira - 1660-70

Still life with fruits, vegetables and flowers by Josefa de Óbidos - 1660-70 (left). Still life with watermelon and grapes by Josefa de Óbidos - 1670 (right)

"Agnus Dei", the lamb of God, seems to have been created after the widely known Zurbarán's composition. It is in fact said she follwed Zurbarán's works rather closely.

 

 

 

 

 

 

 

The Immaculate Conception (after an engraving by the Flemish artist Raphael Sadler) by Francisco Zurbarán - 1628-30 

 

 

A series of gilded and polychromed terracota reliquary busts of the Virgin Mary, St. Sebastian and a holy nun did invariably catch the viewers' attention and set the epoch. According to provided information they all came from the Monastery of Alcobaça. 

 

The Annunciation by Josefa de Óbidos - oil on canvas - 1676 (left).Virgin Mary with Cistercian Saints by Josefa de Óbidos - 1660-70 (right). 

Josefa's earliest works are said to have been painted in copper and it is almost certain that her father had her prepared for a career as a small format painter, which seemed to be a lot more appropriate for a female artist working in a household environment.

 

 

 

 

 

Virgin with the child - oil on copper -1660 (left). Virgin with the child - oil on copper - 1667 (right)

We came across quite a few rather interesting paintings of Jesus seen as a child encircled in garlands of flowers, which belong to a series of such similar compositions Josefa replicated throughout her entire career as a painter.

Jesus, Salvator Mundi as a child by Josefa de Óbidos - 1684

 

 

 

 

 

 

 

The adoration of the shepherds by Josefa de Óbidos - 1669.

Despite the religious motif of the painting one should note the artist still life skills and the detail of the basket of chouriços, clearly highlighting the peculiarity of the composition.

 

The rest on the flight to Egypt by Baltazar Gomes Figueira - (left).  The Holy Family by Josefa de Óbidos - 1672 (right)

 

 

 

   

 

St. Teresa of Ávila before the Holy Spirit by Josefa de Óbidos - 1672 (left). The ecstasy of St. Teresa of Ávila by Josefa de Óbidos - 1672 (right).

18th century figurative Portuguese sculpted Salvator Mundi (left). The praying Virgin by Jan Van Kessel I- 1648 (right)

Late 17th century sculpted figures from a retable and the holy family sculpted by Friar Cipriano da Cruz completed the setting of the religious scenario of the epoch.

 

 

 

I felt the exhibition was very well organised and above all representative of the epoch in which Josefa de Óbidos lived.  Assembling so many of her works and some of her father's further added to the insight of who she really was.

The beauty of red - 16-18th century red chalk drawings; Adam and Eve by Jan Gossaert and Aqua - Faiance from the Museum Collection - Temporary exhibitions - Museu Nacional de Arte Antiga, Lisboa - The 20th of June 2015

I decided to spend Saturday afternoon at one of my favourite Museums in Lisbon, Museu Nacional de Arte Antiga, which had four temporary exhibitions I was keen on seeing. I ended up starting with  small collection of red chalk drawings dating back to the 16th -18th century.

 

It is said that most European artists living in that epoch made use of red chalk, whose colour fluctuates between orange-like shades to a dark brownish red, being able to achieve outstanding results with it. Some years ago I had been to a similar exhibition, but I felt the red chalk drawings sellected for this temporary exhibition were a lot more exquisite.

 

Because of them being behind glass it was rather difficult to photograph the drawings, so I opted for details, which nevertheless give the viewers an idea of the craft involved.

 

 

 

Male with a turban by Giovani Barbieri (1591-1666)

Virgin and child by Denis Calvaert (1540-1610) on the left. Bacchus and Ceres after Bartholomeus Sprangler (1546-1611) on the right.

Rest on the flight to Egypt by Sébastien Bourdon (1616-1671)

 

 

Abraham explaining the machinery of the world by Vieira Lusitano (1699-1783)

 

The sleep of Antiope by Pierre-Antoine Quillard (1701-1733) on the left. Pastoral scene by Jacques Charlier (1706-1790) on the right.

I then headed to one of the first floor exhibition rooms so as to see the guest work "Adam and Eve" by Jan Gossaert.

 

Having been a painter in the Antwerp Guild in 1503 not much is known of this unusual Renaissance Nordic painter of Maubeuge (now part of France). What seems to be known though is that in the compositions quite a few mythological subjects abound and that his paintings are marked by a fanciful use of architecture.

The rather small painting pertaining to the Thyssen collection which was in display is said to have been painted shortly after his return from Rome in 1510 and directly based on the famous engraving on the same subject by Dürer. It is almost certain that Gossaert must have become fascinated by the sculptural nature of the bodies, whose poses are basically the same though the background landscape has been entirely changed.

 

 

 

Before heading down onto the ground floor I still had time to visit a third temporary exhibition, this time of faiance linked to the theme of running water. I must say I was mesmerised by the ceiling of the room where it was exhibited in, which was of exquisite beauty. It displays the partial quadratura which was painted by the Tuscan artist Vincenzo Bacherelli (1672-1745) during his stay in Lisbon (1701-1721)

 

There weren't many ceramic pieces in display but I must confess they were at least  two I felt were outstandingly exquisite, one being an aquarium and the other one a small inner fountain.

 

"Perseus rescuing Andromeda"  made by followers of Bernard Palissy (France or Italy - 17th/19th century) on the left. An aquarium made  by Real Fábrica de Louça, Lisbon in 1780-1816

(To be continued)