In 2025 the BCPCE workshop will focus on the subject of: Baroque mural and ceiling painting in the making –
The multiple roles of drawings in the process of production, presentation and reception of wall and ceiling paintings.
Drawing stands at the beginning of every productive artistic process. This is also true for the field of baroque wall - and ceiling painting. The multiple functions of drawings in the process of producing mural paintings in the baroque period, but also their role in transporting artistic ideas from one workshop to another or from artist to patron, shall be the focus of this study day for colleagues spezialising or interested in the field of wall - and ceiling painting.
Possible subjects for talks and presentations could for instance be:
- Sketches, drawings of single figures or for entire compositions and their role in the process of preparing a mural or ceiling painting;
- Presentation drawings made to impress present or future patrons, or in the course of a competition;
- Drawings for architectural or quadratura painting, for painted frames or stucco decorations;
- Workshop practice, sketch books, collections of drawings and copies;
- Cartoons used and ruined in the process of preparing a wall- or a ceiling painting;
- Underdrawings, and traces of drawing and outlining during the production process of mural paintings;
- Drawings after mural paintings by other artists, or after engraving;
- Drawings collections, engravings after drawings for mural paintings;
- Drawings mentioned in contracts for murals or wall;
- and ceiling paintings, mostly not preserved, but usually described in some detail in the documents or in inventories and other sources.
In this way, we will try to analyse the ambivalent character of drawing as a form of presentation to clients, but also as a primary source of the artist's thoughts and reflections in the process of effective materialisation of an idea.
The multiple roles of drawings in the process of production, presentation and reception of wall and ceiling paintings.
Drawing stands at the beginning of every productive artistic process. This is also true for the field of baroque wall - and ceiling painting. The multiple functions of drawings in the process of producing mural paintings in the baroque period, but also their role in transporting artistic ideas from one workshop to another or from artist to patron, shall be the focus of this study day for colleagues spezialising or interested in the field of wall - and ceiling painting.
Possible subjects for talks and presentations could for instance be:
- Sketches, drawings of single figures or for entire compositions and their role in the process of preparing a mural or ceiling painting;
- Presentation drawings made to impress present or future patrons, or in the course of a competition;
- Drawings for architectural or quadratura painting, for painted frames or stucco decorations;
- Workshop practice, sketch books, collections of drawings and copies;
- Cartoons used and ruined in the process of preparing a wall- or a ceiling painting;
- Underdrawings, and traces of drawing and outlining during the production process of mural paintings;
- Drawings after mural paintings by other artists, or after engraving;
- Drawings collections, engravings after drawings for mural paintings;
- Drawings mentioned in contracts for murals or wall;
- and ceiling paintings, mostly not preserved, but usually described in some detail in the documents or in inventories and other sources.
In this way, we will try to analyse the ambivalent character of drawing as a form of presentation to clients, but also as a primary source of the artist's thoughts and reflections in the process of effective materialisation of an idea.
Contact: [email protected]
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ORGANISING COMMITTEE Ana Celeste Glória – Institute of Medieval Studies / Universidade Nova de Lisboa – School of Social Sciences and Humanities Margarida Elias – Art History Institute, Universidade Nova de Lisboa – School of Social Sciences and Humanities / IN2PAST – Associate Laboratory for Research and Innovation in Heritage, Arts, Sustainability and Territory Michela Degortes – Art History Institute, Universidade Nova de Lisboa – School of Social Sciences and Humanities / IN2PAST – Associate Laboratory for Research and Innovation in Heritage, Arts, Sustainability and Territory Sofia Braga (Main Organiser) – Art History Institute, Universidade Nova de Lisboa – School of Social Sciences and Humanities / IN2PAST – Associate Laboratory for Research and Innovation in Heritage, Arts, Sustainability and Territory |
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SCIENTIFIC COMMITTEE Giuseppina Raggi – CES - Centre for Social Studies / University of Coimbra; Art History Institute, Universidade Nova de Lisboa – School of Social Sciences and Humanities / IN2PAST – Associate Laboratory for Research and Innovation in Heritage, Arts, Sustainability and Territory Martin Mádl – Institute of Art History / The Czech Academy of Sciences, Prague Michaela Seferisová Loudová – Departement of Art History / Masaryk University Pedro Flor – Universidade Aberta | Art History Institute, Universidade Nova de Lisboa – School of Social Sciences and Humanities / IN2PAST – Associate Laboratory for Research and Innovation in Heritage, Arts, Sustainability and Territory Susana Varela Flor – Art History Institute, Universidade Nova de Lisboa – School of Social Sciences and Humanities / IN2PAST – Associate Laboratory for Research and Innovation in Heritage, Arts, Sustainability and Territory Sílvia Ferreira – Art History Institute, Universidade Nova de Lisboa – School of Social Sciences and Humanities / IN2PAST – Associate Laboratory for Research and Innovation in Heritage, Arts, Sustainability and Territory |
Organisation
Partners
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Website credits: Frederico L. Duarte (IHA-NOVA FCSH)
