• Almada Negreiros and the musical iconographic representation: the case of the Church of our Lady of the Holy Rosary of Fátima in Lisbon

    Author(s):
    Rita Faleiro (see profile)
    Date:
    2017
    Subject(s):
    Twentieth century, Musicology
    Item Type:
    Conference paper
    Conf. Title:
    Envisioning Worldly and Otherworldly Pleasures in Music / Imaginando los placeres de la música: entre lo mundano y lo espiritual
    Conf. Org.:
    IMS Study Group on Musical Iconography
    Conf. Loc.:
    Madrid
    Conf. Date:
    01-12-2017
    Tag(s):
    Almada Negreiros, modernism, Musical Iconography, Stained Glass, 20th century, Modernism
    Permanent URL:
    http://dx.doi.org/10.17613/M63C17
    Abstract:
    The 20th century Portuguese was marked, at the artistic level, by a great cultural effervescence. It is impossible to dissociate aspects such as Modernism, the movement linked to the Orpheu magazine (the aggregator element responsible for introducing the modernist question in Portugal), or the MRAR (Movement for the Renewal of Religious Art), committed to raising not only the religious architecture but also the sacred art in Portugal, namely in the great urban centers of Lisbon and Porto, giving them greater dignity and plastic quality. In this context, it is important to refer the Church of Our Lady of the Rosary of Fátima, consacrated in 1938 and in which the participation of José de Almada Negreiros (1893-1970), figure summit of modernism in Portugal, is visible. This artist is at the point of connection between modernism, MRAR and even musical iconography, in the concrete case of the Church previously mentioned, since it was responsible for the collaboration in the project of this temple through its stained glass panels. The purpose of this article is to analyze the musical representation in the stained glass that Almada Negreiros designs for this Church, framing them in the modern artistic movement. It is intended to understand how Almada works the body-instrument relationship, translating into plastic works a representation of divine worship and religiosity; having several works in which the issue of musical representation works, this communication specifically deals with iconographic representation in a religious context. All the political, social, and cultural factors that Portugal has gone through have involved a certain visual representation, which includes, among other areas, that of musical iconography, which is the point on which this communication intends to be.
    Notes:
    Conference paper. Complete article was submitted to Cuadernos de Iconografia Musical.
    Metadata:
    xml
    Status:
    Published
    Last Updated:
    5 years ago
    License:
    All Rights Reserved
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