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Exceptional for an artist of color in colonial Brazil, Mestre
Valentim became an architect. He received numerous commissions from the viceroy Dom Luiz de Vasconcelos e Souza. Also unusual for a colonial Brazilian artist is the fact that a portrait painted during his lifetime still exists today. João
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to Manoel da
Fonseca e Silva, a white man, and Amatilde da Fonseca, a black woman. Although he never married, his relationship with Josefa Maria da Conceição resulted in a daughter named Joana. Although the details of his artistic training are up to debate, he may have traveled to Portugal with his
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of Rio de
Janeiro, the first public park in Brazil. The sculptural works of the park include stylized entrance gates; two obelisks; statutes of Greek gods and Brazilian plants and animals; and several fountains. The park featured two pavilions containing paintings by
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He began his career as a sculptor, and numerous sculptural works within Rio de
Janeiro's churches have been attributed to him. He was also instrumental in creating a foundry and in producing the first large-scale bronze cast sculptures made in Brazil.
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detail, João
Francisco Muzzi, Happy and quick rebuilding of the church of the old Monastery of Nossa Senhora do Parto, started in August 25th, 1789 and concluded in Dezember 2nd of the same year.
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Edward J. Sullivan, “The Black Hand: Notes on the
African Presence in the Visual Arts of Brazil and the Caribbean,” in Joseph J. Rishel and Suzanne Stratton-Pruitt eds.,
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168:(1738–1798). Unfortunately, most of Mestre Valentim's design has since been altered, many of the sculptures removed, and the pavilions eliminated.
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Francisco Muzzi's painting includes Mestre
Valentim presenting architectural plans to the viceroy.
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Entre o Artifício e a Arte: pintores e entalhadores no Rio de
Janeiro setecentista
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Rachel
Zimmerman, "Mestre Valentim, Passeio Publico, Rio de Janeiro," in
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family as a child. By adulthood, he found himself living and working in
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One of his most ambitious projects was the design of the
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Bust of Mestre
Valentim, Passeio Público, Rio de Janeiro
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ENCICLOPÉDIA Itaú Cultural de Arte e Cultura Brasileira
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Revista do Instituto Historico e Geographico do Brazil
282:(in Portuguese). São Paulo: Selo Negro. p. 113.
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Alligator fountain, Passeio Publico, Rio de Janeiro
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United Kingdom of Portugal, Brazil and the Algarves
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337:https://smarthistory.org/valentim-passeio-publico/
267:(in Portuguese). São Paulo: Itaú Cultural. 2016.
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102:(ca. 1745 – March 2, 1813), better known as
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311:(in Portuguese). Oxford University Press.
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195:Recolhimento de Nossa Senhora do Parto
85:Sculpture, architecture, urban planning
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326:The Arts of Latin America 1492-1820
309:Grove Art Online. Oxford Art Online
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16:Brazilian architect and artist
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