Volume 18, Issue 2, October 2015, Pages 386–390
Shakil Yussuf Rahim1 and Ana Leonor Madeira Rodrigues2
1 CIAUD, Faculty of Architecture, University of Lisbon, Rua Sá Nogueira, Pólo Universitário, Alto da Ajuda, 1349-055 Lisbon, Portugal
2 CIAUD, Faculty of Architecture, University of Lisbon, Rua Sá Nogueira, Pólo Universitário, Alto da Ajuda, 1349-055 Lisbon, Portugal
Original language: English
Copyright © 2015 ISSR Journals. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
This article studies the drawing theory of Francisco de Holanda through the sketchbook De Aestatibus Mundi Imagines (1543-1573). This graphic work reveals the author's artistic life through the parts that compose it. The visual production of Holanda is marked by two poles, chronologically demarcated: i) first stage – Humanist Thought (youth, journey to Italy, treaties Da Pintura Antigua, Diálogos em Roma and Do Tirar Polo Natural) and ii) second stage – Trent Thought (distancing from the court, doctrine of faith, spirituality, treaties Da Fabrica que Falece na Cidade de Lisboa and Da Sciencia do Desenho). The album De Aestatibus Mundi Imagines permeates these two phases, given the interregnum of its production, and show the matrix of thought of Holanda, between classicism and reforms. This period of 20 years alternated between importance of observational drawing in Renaissance humanism and the post-Council of Trent, where the drawing was under suspicion. The studied work materializes through the direction of that conflict.
Author Keywords: Drawing, Visual Thinking, Humanism, Francisco de Holanda, Portugal.
Shakil Yussuf Rahim1 and Ana Leonor Madeira Rodrigues2
1 CIAUD, Faculty of Architecture, University of Lisbon, Rua Sá Nogueira, Pólo Universitário, Alto da Ajuda, 1349-055 Lisbon, Portugal
2 CIAUD, Faculty of Architecture, University of Lisbon, Rua Sá Nogueira, Pólo Universitário, Alto da Ajuda, 1349-055 Lisbon, Portugal
Original language: English
Copyright © 2015 ISSR Journals. This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
Abstract
This article studies the drawing theory of Francisco de Holanda through the sketchbook De Aestatibus Mundi Imagines (1543-1573). This graphic work reveals the author's artistic life through the parts that compose it. The visual production of Holanda is marked by two poles, chronologically demarcated: i) first stage – Humanist Thought (youth, journey to Italy, treaties Da Pintura Antigua, Diálogos em Roma and Do Tirar Polo Natural) and ii) second stage – Trent Thought (distancing from the court, doctrine of faith, spirituality, treaties Da Fabrica que Falece na Cidade de Lisboa and Da Sciencia do Desenho). The album De Aestatibus Mundi Imagines permeates these two phases, given the interregnum of its production, and show the matrix of thought of Holanda, between classicism and reforms. This period of 20 years alternated between importance of observational drawing in Renaissance humanism and the post-Council of Trent, where the drawing was under suspicion. The studied work materializes through the direction of that conflict.
Author Keywords: Drawing, Visual Thinking, Humanism, Francisco de Holanda, Portugal.
How to Cite this Article
Shakil Yussuf Rahim and Ana Leonor Madeira Rodrigues, “A Portuguese Draughtsman: Francisco de Holanda's Drawing Theory and the case of De Aetatibus Mundi Imagines,” International Journal of Innovation and Scientific Research, vol. 18, no. 2, pp. 386–390, October 2015.
