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personally. However, recent criticism has tended to consider this biography largely fanciful, part of a process of magnification and dramatization of his personality and work, in a romanticized manipulation of his figure whose aim was to elevate him to the status of an icon of
Brazilianness, a mix of hero and artist, a "singular genius, sacred and consecrated", as Roger Chartier described it. Bretas' account, however, cannot be completely discarded, since being the oldest substantial biographical note on Aleijadinho, most of the later biographies were based on it, but the information it brings needs to be seen with some skepticism, being difficult to distinguish what is fact from what has been distorted by popular tradition and by the writer's interpretations. Biographies and critical studies carried out by Brazilian modernists in the first half of the 20th century also made biased interpretations of his life and work, increasing the amount of stereotypes around him, which are still perpetuated today in the popular imagination and in part of the critics, and are explored both by official cultural instances and by tourism agencies in the cities where he left his production.
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1089:"The project drawn up by Aleijadinho in 1774 for the facade of the church of Saint Francis of São João del-Rei, which is located on the same evolutionary line of Ouro Preto's Carmel, would have come to characterize, if executed, the most genuinely Rococo of the Minas Gerais religious facades... the project, fortunately preserved, a beautiful and meticulous pen and ink drawing with the volumes marked in shading, gives a very precise idea of the author's original thought. The elegant chamfered and slightly rounded towers frame a slightly sinuous frontispiece like that of the Carmel church, with a similar design to that church, with the same bell-shaped crowning, in a more evolved treatment. Other similarities can be detected in the ornamental design of the doorway and window frames, differing, however, the model of the oculus and the pediment, flanked by vigorous flaming rocailles, which visually propel the central sculptural relief upwards with the scene of the vision of Saint Francis on Mount Alverne".
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distortions as an eminently technical resource destined to compensate for the deformation arising from the low point of view from which the statues are seen, demonstrating that the creator was aware of the problems and demands of the figural representation in perspective. In fact, the drama of the set seems to be intensified by these aberrant forms, which are presented in a varied and theatrical gesture, imbued with symbolic meanings referring to the character of the prophet in question and the content of his message. Ten of them have the same physical type: a young man with a slender face and elegant features, high cheekbones, trimmed beard and long mustache. Only Isaiah and Nahum appear as old men with long beards. All of them also wear similar tunics, decorated with embroidery, except for Amos, the shepherd-prophet, who wears a cloak similar to the sheepskin garments found among peasants in the
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already established and still in use, as was the case on the coast, which makes them exemplary with regard to stylistic unity. The Rococo ensemble of churches in Minas Gerais is of special importance both for its richness and variety and for being a witness to a very specific phase of
Brazilian history, when the region concentrated the attention of the Portuguese metropole for its large deposits of gold and diamonds and constituted the first nucleus of an eminently urban society in Brazil. The formulation of a differentiated artistic language in Minas Gerais was also due to two other important factors: its relative isolation from the rest of the colony and the sudden enrichment of the region with the discovery of the gold deposits. The style typically practiced in Minas Gerais had its main center in the old Vila Rica, today Ouro Preto, founded in 1711, but it also flourished vigorously in
758:"The unique experience of the Captaincy of Minas Gerais constituted, due to the peculiarities of the economic conditioning and the civilizing process, a unique moment in Brazilian cultural history. If gold and diamonds — or rather, if the mining industry was, in the field of economy, the material factor in the crystallization and autonomy of mountain culture, baroque atavism prepared its spiritual support, imprinting its ethical-religious standards on the life of the mining society and imposing its aesthetic values and tastes on creative manifestations. Without this unit of philosophical conformation, the sedimentation of a culture so authentic in its individuality would never be possible, a phenomenon not of a historical-regional contingency, but of a polarization of ethnic virtualities of the colonizing people who would find here exceptional conditions of expansion and affirmation".
967:"Although the whole system of organization for the performance of mechanic crafts, inherited from Portuguese medieval models, has changed as it adapted to the Brazilian colony, it seems certain that both in Portugal and even more so in Brazil, the rigid division of functions carried out by different officers has never been carefully maintained... The overlapping or exercise of functions that extrapolated the professional limits established for each mechanical trade did not fail to generate conflicts... Different paths, taken into account, lead to the conclusion that artistic and craft works, in their various activities, intertwined their functions in the hands of different officials (the "officials of everything", in the sixteenth-century term), on construction sites and in the various tasks promoted by brotherhoods and the diocese in Minas Gerais in the eighteenth century".
824:", and instead adopting decorations that are more open, flowing, luminous and light. The softening was also imprinted on the architecture, with more elegant facades and more decorative porticos, larger windows for more effective internal lighting, busier plants, more docile materials such as soapstone, and interiors with a predominance of white, interspersed with more delicate and graceful carving, more expansive and also more sparse, often resorting to patterns derived from the shape of the shell with clear polychromies. The general approach to sacred iconography, however, was not greatly affected by Rococo in countries with a strong counter-reformist tradition such as Portugal and Brazil, continuing what was described about the theme in the Baroque, including the case of the sculptural works of Aleijadinho, whose drama and eloquence are remarkable.
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542:"In Brazil, Aleijadinho would not have escaped this collective representation that surrounds the artist. The account of midwife Joana Lopes, a woman from the people who served as the basis for both the stories that spread by word of mouth and for the work of biographers and historians, made Antônio Francisco Lisboa the arhcetype of the genius cursed by the disease. His formation is obscured in order to fix the idea of the uncultivated genius; his condition as a mulatto is noted to highlight his accomplishments within a slave-owning community; the collective nature of the artistic work is completely erased so that the individual assumes a demiurgical aspect; the effect of the disease is amplified so that the superhuman effort of his work becomes clear and so that beauty is highlighted in the frame of leprosy."
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already mentioned, projects for altarpieces and chapels, which fit more in the function of the decorator-carver, even though they have architectural proportions. Oliveira states that the comparison between the documented facade designs and what is traditionally attributed shows that they are dealing with very different stylistic universes, suggesting that the attribution of the
Franciscan church of Ouro Preto to Aleijadinho is questionable to say the least. This presents a more compact model, with more dynamic volumes and poor ornamentation in the openings, except for the doorway, whose authorship is defined by Aleijadinho. Its aesthetics are more reminiscent of old Baroque models. The other two have decorated windows and less protruding volumes, and are conceived in the Rococo style.
434:, i.e. 'little cripple'. His body gradually deformed, which caused him continuous pain; he would have lost several fingers, leaving only his index and thumb, and all of his feet, forcing him to walk on his knees. In order to work, he had to have the chisels tied to his stump hands, and in the most advanced stage of the disease he had to be carried around for all his trips — receipts for payments from slaves who took him around survive, attesting to this. His face was also damaged, lending it a grotesque appearance. According to the report, Aleijadinho was fully aware of his terrible appearance, and for this reason he developed a perennially revolted, angry and suspicious mood, imagining that even the praise he received for his artistic achievements were disguised mockery.
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348:, he was often forced to accept contracts as a day laborer and not as a master. From the 1760s until close to his death, Aleijadinho produced a large number of works, but in the absence of supporting documentation, several have a controversial authorship and are strictly considered only attributions, based on criteria of stylistic similarity with his authenticated production. With his father's death in 1767, Aleijadinho, as a bastard son, was not contemplated in the will. The following year, he enlisted in the Infantry Regiment of the Brown Men of Ouro Preto, where he remained for three years, without discontinuing his artistic activity. During this period, he received important commissions: the design of the façade of the
981:(IPHAN), Myriam Oliveira, Antônio Batista dos Santos and Olinto Rodrigues dos Santos Filho, contested hundreds of these attributions, and the book ended up having its entire edition seized by court order, issued in a lawsuit filed by Renato Whitaker, a great collector of Aleijadinho, who felt harmed by seeing several of his pieces discredited. The embargo, however, was later lifted. Other contestations came from Guiomar de Grammont, claiming that in his lifetime, and hampered by a limiting illness, it would be impossible for Aleijadinho to execute all the works attributed to him. She further claimed to have "reason to suspect that there is collusion between collectors and critics to value anonymous works".
391:... which equally honors architecture and sculpture... Superior to everything else and unique in stone sculptures in full relief or half relief and in irregular outlines and ornaments of the best French taste is the aforementioned Antônio Francisco. In any piece of his that serves to enhance the most elegant buildings, one admires the invention, the natural or composed balance, the accuracy of the dimensions, the energy of the uses and customs and the choice and arrangement of the accessories with the believable groups that inspire the beauty of nature. So much preciousness is found deposited in a sick body that needs to be carried everywhere and the irons (working tools) tied to it to be able to work".
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created a network of mutual assistance for their members, and dedicated themselves to caring for the poor. Many became very wealthy, and competed in building temples decorated with luxury and refinement, boasting paintings, carvings and statuary. It is also considered that the brotherhoods had a political side, acting in the construction of a social consciousness in an environment dominated by the
Portuguese elite. At the time when Aleijadinho worked, Minas Gerais was in a state of political and social agitation, strongly pressured by the Portuguese Crown, which wanted the gold from the mines at any cost, and due to this intolerable pressure it became the headquarters of the
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arguments as Gomes Júnior; Barretto added that the figure of
Aleijadinho is currently a decoy for tourism in Ouro Preto to such an extent that his illness, represented in the books, is "commercialized" in some tourist spots in the city. In the midst of this web of dubious biographical constructions largely consecrated by tradition, several scholars have tried to separate fact from legend, in an effort that began almost at the same time as the mythical image around it was created, with the pioneering writings of José Mariano Filho and Roger Bastide on this topic, later supported by several others such as those of the aforementioned authors.
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and from the exaggerations that succeed and accumulate, a truly ideal entity finally composes", nevertheless, Bretas praised
Aleijadinho's achievements against a hostile environment and an overwhelming illness. At the beginning of the 20th century, interested in defining a new sense of Brazilianness, the modernists took Aleijadinho as a paradigm, a mulatto, a symbol of the Brazilian cultural and ethnic syncretism, who managed to transform the Portuguese heritage into something original, and a lot of bibliography was produced in that sense, creating an aura around him that was assumed by the official instances of the national culture.
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sources for attributing authorship. Also other documents, such as the Memory of the councilor of
Mariana transcribed by Bretas and the oral tradition are useful elements. Stylistic comparisons between authenticated works and those of suggested authorship can be used to identify the author, although this criterion is always conjectural, even more so because it is known that Aleijadinho's "typical" style created a school, being continued by a large number of sculptors from Minas Gerais and copied until today by saint-makers in the region. Such a style was described by Silvio de Vasconcellos as having the following traits:
847:, Brandão, Mills, Taylor and Graham. Others regard him as a typical Rococo master, such as James Hogan, for whom he was the greatest exponent of Brazilian Rococo, or Myriam Oliveira, a scholar of colonial art, who denounced the recurring tendency to assimilate the "Minas Gerais phenomenon" into the orbit of the Baroque, a basic flaw that she pointed out to exist in most modern studies on the art of the region and on Aleijadinho, and which originated the concept, so widespread, and for her false, of "Baroque from Minas Gerais". Others see it as a perfect example of Baroque, such as Clemente, Ferrer,
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expression of very high quality of this synthesis, being the first great genuinely national artist. Among many similar opinions, Bazin praised him as the "Brazilian
Michelangelo", for Carlos Fuentes he was the greatest "poet" of colonial America, Lezama Lima called him "the culmination of the American Baroque", Regis St. Louis and his collaborators give him a prominent place in the history of international art, John Crow considers him one of the most gifted creators of the western hemisphere ever, and João Hansen claims that his works are already beginning to be identified with Brazil alongside
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1398:, topped by a large royal crown. The set is decorated with garlands, flowers, cherub heads and ribbons with inscriptions, in addition to volutes and shell and foliage motifs. Also new are the design of the pedestals, in a semicircular arch, and the addition of fragments of entablature above the side pilasters, decorated with serrations and volutes. The same motifs appear in São João del-Rei, but all these portals were apparently modified, in their structural part, by Cerqueira. A differential of the Ouro Preto example is the presence of an additional relief occluding the oculus, where
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ideas did not exist, at least not with the importance it acquired, during earlier periods, which excelled in the system of collective and often anonymous creation. Art tended to be considered a product of public utility, the clients determined the approach to be employed in the work, the stories and motifs did not belong to anyone, and the artist's personal voice should not prevail over established formal canons and collective concepts which they sought to convey, nor could the creator, in general terms, claim intellectual property over what he wrote, sculpted or painted.
789:, created in this aesthetic that was already consolidated in Europe at this point. Throughout colonial Brazil, art developed under a very precarious teaching structure, essentially artisanal and corporate, and the practice of learning through the study of reproductions of great examples of European art was a commonplace process among local artists, who looked to them for inspiration for their own work. It is also certain that Portuguese artists circulated in the region; they knew the art of the Metropolis well and naturally left their mark on the people of Minas Gerais.
695:, and the internal administration that it imposed on the land was inefficient and time-consuming. This social space was immediately occupied by the Church through missionaries, who administered, in addition to divine offices, a series of civil services, were at the vanguard of the conquest of the interior of the territory, organized a good part of the urban space and dominated teaching and social assistance by maintaining schools and orphanages, hospitals and asylums. The Church also practically monopolized Brazilian colonial art, with a rare notable secular expression.
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Bretas recognized, the exact nature of his illness is unknown, and several diagnostic proposals have been offered by various historians and physicians. Even with increasing difficulty, Aleijadinho continued to work intensively. On 9 December 1787, he formally assumed the role of judge of the
Brotherhood of Saint Joseph. In 1790, captain Joaquim José da Silva wrote his important memorandum to the Chamber of Mariana, partially transcribed by Bretas, where he gave various data about the artist, and, witnessing the fame that accompanied him by then, greeted him as:
682:, whose conceptual bases revolved around symmetry, proportionality and containment, rationality and formal balance. Thus, Baroque aesthetics excelled for asymmetry, excess, expressiveness and irregularity. Beyond a purely aesthetic trend, these traits constituted a true way of life and set the tone for the entire culture of the period, a culture that emphasized contrast, conflict, dynamic, drama, grandiloquence, and the dissolution of boundaries, together with an accentuated taste for the opulence of forms and materials, making it a perfect vehicle for the
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754:, Sabará, Cachoeira do Campo, São João del-Rei, Congonhas and a number of other mining towns and villages. When gold began to run out, around 1760, the cultural cycle of the region also began to decline, but that was when its characteristic style, at this point already transitioning to Rococo, reached its culmination with the mature work of Aleijadinho and Master Ataíde. The wealth of the region in the 18th century also favored the emergence of an urban elite interested in art, sponsoring artists and appreciating secular works. According to Afonso Ávila,
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859:"Aleijadinho's style belongs to Baroque, in the broadest sense of the term. The spirit of Baroque was that of Catholic and imperial universality and, in that respect, Aleijadinho was a true master of that style. He instinctively grasped the basic notions of Baroque in terms of movement, limitlessness and theatrical spirit, as well as the idea that all arts, architecture, sculpture, carving, gilding, painting and even ephemeral spectacles... should be used as elements that harmoniously contribute to a grandiose illusory effect".
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1341:; others take this line of thought further, identifying each of the prophets with one of the conspirators, some of whom the artist seems to have known personally, and others believe that there may be hidden Masonic symbolism in the works. These theories — mainly because the period documentation about the artist is very poor, leaving room for a lot of conjecture — are far from being a consensus and circulate in a limited way among specialists, although they find an appreciable space in popular culture.
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intervened in the original design of the churches, and construction supervision was carried out by teams from corporations, associated with the civil and ecclesiastical powers, which also had directive power. An indeterminate number of assistant craftsmen also participated in the carving of altars and sculptures, who, while following the guidelines of the designer in charge of the commission, left their distinctive mark on the finished pieces. As Angela Brandão said:
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effectively integrated with the ornamentation of the vault, merging wall and ceiling in an upward thrust. All the woodwork on the altarpiece has a sculptural mark, more than merely decorative, and creates an original game of diagonal planes through its structural elements, which constitutes one of the distinctive elements of his style in this field, and which was repeated in another large complex he designed, for the
Franciscan Church of São João del-Rei.
1493:, both the officials and the people have been creating around his little-known and mysterious figure, elevating him to the level of a national hero. Hansen even pointed out as regrettable evidence of this situation the occurrence of political manipulation of Aleijadinho's image abroad, citing government censorship of the publication of more critical studies in the catalog of a major exhibition that included the artist mounted in France, sponsored by the
839:"The artist wandered around the world. Reinvented the world. Aleijadinho remembers everything! It evokes the Italian primitives, it outlines the Renaissance, it touches the Gothic, it is sometimes almost French, almost always very Germanic, it is Spanish in its mystical realism. An enormous cosmopolitan irregularity, which would have led him to something hopelessly dilettante if not for the strength of his conviction imprinted in his immortal works".
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1349:, astonished by the mystical intensity of the figures, said that "Aleijadinho's prophets are not baroque, they are biblical". Gabriel Frade thought that the set comprising the church, the large churchyard and the prophets has become one of the most known sacred architecture in Brazil, being a perfect example of how interdependent elements complement each other, crowning the entirety of the work with harmony. For John Bury:
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commission regime, earning half an eighth of gold a day, but he did not accumulate a fortune, rather, it is said that he was careless with money, being robbed several times. On the other hand, he would have made repeated donations to the poor. He kept three slaves: Maurício, his main helper with whom he shared his earnings, plus Agostinho, a carving assistant, and Januário, who guided the donkey he used to go around on.
371:. Aleijadinho would have been obliged to answer the call, even traveling to Rio de Janeiro, but then he would have been dismissed. In Rio, he arranged for the judicial record of the paternity of a son he had with Narcisa Rodrigues da Conceição, a mulatto, a son who was named, like his grandfather, Manuel Francisco Lisboa. She later abandoned him and took the child to Rio de Janeiro, where he later became an artisan.
1329:"What Aleijadinho effectively left represented in this work was a postural dynamic of oppositions and correspondences. Each statue represents a specific character, with its own gestural speech. But despite this independence in the representative space and even in the physical space, they maintain a body dialogue, forming an integrated unit in the prophetic dance of the annunciation of life, death and rebirth".
287:, refers the birth to 1738, warning that the date corresponds to that recorded on Aleijadinho's death certificate; the reason for the discrepancy between the dates in the manuscript and the booklet that was printed is unclear. In 1738 Aleijadinho's father married Maria Antônia de São Pedro, an Azorean, and with her he gave Aleijadinho four half-siblings, and it was in this family that the artist grew up.
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architectural structures that were erected at that time — the palaces and the great theaters and churches — that served as a framework of a "total work of art", which included architecture itself, plus painting, sculpture, decorative and performing arts such as music, dance and theater, as Baroque sought to integrate all forms of expression into an enveloping, synthetic and unifying whole.
1353:"Aleijadinho's prophets are masterpieces, and that in three different aspects: architecturally, as a group; individually, as sculptural works, and psychologically, as a study of the characters they represent. From this last point of view, they are the most satisfying sculptures of Old Testament characters that have ever been executed, with the exception of Michelangelo's Moses".
1139:, carved between 1796 and 1799, are intensely dramatic, and this effect is heightened by the bright colors of the life-size statues, painted, as indicated in a contract signed in 1798 by Master Ataíde and Francisco Xavier Carneiro. However, it is not certain that Carneiro worked on the pieces, as there are no payments made to him in Book 1 of Expenses until 1837, when it ends.
785:, the form of its introduction in Minas Gerais is obscure and controversial, and the only thing known for sure is that in the 1760s works along this line already appeared in various parts of the region, without any apparent connection between them. Other researchers attribute the emergence of the style in Minas Gerais to the spread of German and French engravings, statuary and
581:. In 1941 Guinle donated the portrait to the Public Archives of Minas Gerais, where in 1956 it was rediscovered by historian Miguel Chiquiloff, who began a research of almost twenty years to prove its authenticity. Chiquiloff's conclusion was that the image does indeed represent Aleijadinho, but its authorship was attributed to an obscure painter, Euclásio Penna Ventura.
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of the materials and forms and by the decorative exuberance, trying to reconcile the illustration of spiritual glories with the appeal to worldly pleasure, seeing this as a particularly apt didactic instrument for moral and religious education. This ambiguous pact, when conditions allowed, created artistic monuments of enormous formal complexity and artistic richness.
422:"He was dark brown, had a strong voice, a passionate speech, and an angry temper: his stature was short, his body was full and poorly shaped, his face and head were round, and his forehead was voluminous, his hair was black and curly, that of his beard bushy and broad, broad forehead, regular and somewhat pointed nose, thick lips, large ears, and short neck".
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two years, when he could no longer work and spent most of his time in bed, one side of his body was covered with sores, and he constantly begged that Christ came to give him death and deliver him from his life of suffering, resting his holy feet on his miserable body. However, testimonies of the time do not agree on the nature or extent of his deformities.
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engaged in a process of creating a new concept of national identity, knowing Aleijadinho's work was like an inspiring revelation, being accompanied by some illustrious French-speaking theorists, in a period when the Baroque style was very discredited among the intelligentsia in Europe but in Brazil it had become the subject of the moment. Admired,
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reconstructed mainly through the works he left behind, although even in this context his contribution is controversial, since the attribution of authorship for most of the more than four hundred creations that exist today associated with his name was made without any documentary evidence, based only on stylistic similarity with documented pieces.
593:. However, the Assembly overturned the government veto and approved Law No. 5,984, of 12 September 1972, recognizing the portrait as the official and unique effigy of Antônio Francisco Lisboa. It is the image that illustrates the opening of this article. Some Brazilian artists have also offered conjectural versions of his appearance, among them
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his ideas. These last pieces present a great formal reduction, with the reduction of the decorative elements to essential forms. The retables are markedly verticalized and fully fit within the Rococo canons; they completely abandon the scheme of the crowning arch, using only forms derived from the shell (the "
278:, and his African slave, Isabel. In the baptismal certificate, cited by Bretas, it appears that Antônio, born a slave, was baptized on 29 August 1730, in what was then the town of Vila Rica (currently Ouro Preto) in the parish of Nossa Senhora da Conceição de Antônio Dias, with Antônio dos Reis as his
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Grammont, Gomes Júnior, Chartier, Barretto and others warn against the perennialization of mystifying, romanticized and fanciful views about the Aleijadinho, which tend to obscure his correct contextualization and the clear understanding of his artistic stature and the extent of his originality, from
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Still within the field of sculpture, there are the large reliefs that Aleijadinho sculpted for church porches, which introduced a pattern of great posterity in Brazil. Typical of this innovation is the cartouche or crowned coat of arms flanked by angels, which first appeared on the door of the Church
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In any case, the set's conception is typical of international religious Baroque: dramatic, choreographic and eloquent. Soraia Maria Silva states that each statue represents a specific character who, despite the independence in the representative and physical space, maintain a bodily dialogue of their
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and the Prophets), the general catalog published by Márcio Jardim in 2006 listed 425 pieces as his exclusive work, without help by others, a much larger number than the 163 works counted in 1951, in the first cataloging. The number continues to grow: several pieces by hitherto unknown authorship have
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Beatriz Coelho divided his stylistic evolution into three phases: the first, between 1760 and 1774, when his style was undefined, looking for a characterization; the second, between 1774 and 1790, when he personalized himself and his works were defined by firmness and idealization, and the final one,
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As with other colonial artists, identifying Aleijadinho's works is difficult due to the fact that artists of the time did not sign their works and the scarcity of documentary sources. In general, documents such as contracts and receipts agreed between religious brotherhoods and artists are the safest
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Having been born primarily as a reaction against Protestants, who condemned luxury in churches and the cult of images, the Baroque, particularly in Brazil, was a style moved mainly by religious inspiration, but, at the same time, it placed enormous emphasis on sensoriality, captivated by the richness
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house of the Sanctuary of Bom Jesus de Matosinhos, in Congonhas. The work was then sold in 1916 to the Rio de Janeiro merchant Baerlein as a portrait of Aleijadinho, and after ending up in an antique shop, it was bought by Guilherme Guinle, at which point the authorship of the portrait was attributed
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in the 19th century, when the creator began to be strongly associated with his creation, the latter being considering an exclusive property of the former, and attributing to the work the ability to display genuine reflections of personality and the individual soul that produced it. This entire set of
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The construction of the myth around Aleijadinho already began in the pioneering biography of Bretas, who, despite warning to the fact that "when an individual becomes famous and admirable in any genre, there are those who, lovers of the marvelous, exaggerate indefinitely what is extraordinary in him,
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In order to hide his deformity, he wore loose-fitting clothes and large hats that hid his face. He also began to prefer to work at night, when he could not be seen easily, and inside a space closed by awnings. According to Bretas, citing what he learned from Aleijadinho's daughter-in-law, in his last
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Until then, according to Bretas, Aleijadinho had enjoyed good health and the pleasures of the popular parties and dances, but from 1777 onwards, signs of a serious illness began to appear. Over the years the illness deformed his body and hindered his work, causing him great suffering. To this day, as
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According to Bretas, Aleijadinho's knowledge of drawing, architecture and sculpture was obtained from his father and perhaps from draftsman and painter João Gomes Batista. From 1750 to 1759, he would have attended the boarding school at the Seminary of the Franciscans Donatos of the Hospício da Terra
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The first official news about Aleijadinho appeared in 1790 in a memorandum written by captain Joaquim José da Silva, complying with the royal order of 20 July 1782, which determined that notable events, of which there was certain news, that had occurred since the foundation be recorded in an official
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His recognition goes beyond Brazil. For a good part of modern critics, Aleijadinho represents a unique moment in the evolution of Brazilian art, being a point of confluence of the various social, ethnic, artistic and cultural roots that founded the nation, and more than that, it represents a plastic
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and Mário de Andrade in the beginning of the 20th century, allied to the new prestige that the Minas Gerais Baroque enjoyed among the government, a prestige that led to the creation of the Inspectorate of National Monuments, IPHAN's predecessor, in 1933. For the modernists in Mário's group, who were
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The final stage in the evolution of his style as a carver is illustrated by the altarpieces he created for the Church of Our Lady of Carmel in Ouro Preto, designed and executed by him between 1807 and 1809, being the last ones he created before his illness forced him to supervise rather than execute
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and others, certainly repeating what they had heard from the locals, claiming Aleijadinho had lost not only fingers, but even his hands, are taken into account. However, according to Bury, from that date his handwriting visibly deteriorated. Chartier, Hansen, Grammont and others have echoed the same
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The most important ensemble is the altarpiece of the Church of Saint Francis of Assisi in Ouro Preto, where the tendency to populate the crowning with figures reaches its high point, with a large sculptural ensemble representing the Holy Trinity. This group not only completes the altarpiece, but is
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and in the agitated and convoluted movement of the statuary, pictorial and architectural forms, which seduced by their sumptuousness and by the easily understandable motifs by the people. At a time when the population was mostly illiterate, Catholic Baroque art was a highly persuasive complement to
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In competition with Protestant dissidents, the Catholic clergy sought, in short, to co-opt more followers by translating the abstract meanings of their religion into a highly rhetorical visual language, which had a scenographic and declamatory sense, and which expressed itself full of hyperbole and
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Little is known about the life of Antônio Francisco Lisboa. Practically all the data available today are derived from a biography written in 1858 by Rodrigo José Ferreira Bretas, 44 years after Aleijadinho's death, allegedly based on documents and testimonies of individuals who had known the artist
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Aleijadinho transferred this model to the portals of the Franciscan churches of Ouro Preto and São João del-Rei, where the composition became much more complex and virtuosic. In Ouro Preto, the angels have two coats of arms side by side, united by Christ's crown of thorns and the stigmatized arms,
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and being manumitted on the occasion by his father. The birth certificate does not contain the child's date of birth, which may have occurred a few days earlier. However, there are strong arguments that currently lead to considering it more likely that he was born in 1738, as his death certificate
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and football in other countries, having become one of the national icons for foreigners. There is already a museum specially dedicated to the preservation of his memory, the Aleijadinho Museum, founded in Ouro Preto in 1968, and his hometown regularly promotes "Aleijadinho Week", with meetings of
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The proportions of the figures are extremely distorted. Part of the critic attributes this to the incompetence of his group of assistants or the difficulties in handling the chisel generated by his illness, but others are inclined to see an expressive intentionality in them; others understand the
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The role of the brotherhoods in the social life of Minas Gerais, to which Aleijadinho connected through the Brotherhood of São José, which served mainly mulattos and attracted many carpenters, was important. They were organizations that sponsored the arts, fostered the spirit of Christian living,
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One of the most active elements in the construction of the "Aleijadinho myth" concerns the relentless search for confirming signs of its originality, of its "uniqueness" in the panorama of Brazilian art, representing an event so special that it would transcend even the style of its time. However,
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and the Prophets for the Sanctuary of Bom Jesus of Matosinhos, in Congonhas, considered to be his masterpiece. In the 1804 census, his son appeared as one of his dependents, along with his daughter-in-law Joana and a grandson. Between 1807 and 1809, with his illness being at an advanced stage, he
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Oral tradition holds that Aleijadinho was also the author of the design for the Church of Saint Francis of Assisi in Ouro Preto, but in relation to it, only his participation as a decorator is documented, creating and executing altarpieces, pulpits, a doorway and a washbasin. He also created, as
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Being one of the icons of Brazilian art today, Aleijadinho's work is highly valued in the market, and the issue of authorship attributions comes into play with strong pressure from various sectors involved, including official instances, collectors and art dealers. Although his documented work is
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cultured models, surpassing its models and acquiring a status of new and original work, an achievement that would be responsible for the universality of his contribution without implying the loss of its popular roots, also being a justification for its relevance in the panorama of Brazilian art.
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on his work is also noted, as Junqueira Filho refers to when he states that Aleijadinho's uniqueness resides in the fact that he overcomes the talent of a simple copyist and the idiosyncrasies of a popular language that, however, remains visible as "a grace craft" in its process of appropriating
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Minas Gerais had the peculiarity of being a more recent settlement area in relation to the Brazilian coast, and there it was possible to build with more freedom, in more updated aesthetics, in this case, the Rococo, a profusion of new churches, without having to adapt or renovate older buildings
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in Ouro Preto, to supervise the works that were in charge of his disciple Justino de Almeida. By this time, he was nearly blind and his motor skills were greatly reduced. For a brief period he returned to his old home, but soon had to settle down at his daughter-in-law's house, who, according to
198:
Little is known with certainty about his biography, which remains shrouded in legend and controversy to this day, making the research work on his life very arduous. The main documentary source on Aleijadinho is a biographical note written only about forty years after his death. His trajectory is
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and others saw in some of these plays, especially in the grotesque Roman soldiers who torment Christ, a poignant and sarcastic, albeit veiled, cry of protest against the oppression of the colony by the Portuguese government and of blacks by whites. Freyre, at the same time, identified typically
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The problems become more complex in the analysis of his contribution to the religious architecture of Minas Gerais when one notices the discrepancy between the design of the Church of Saint Francis of Assisi in São João del-Rei, which was recovered, with the result that is visible today, having
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the verbal catechism. The counter-reformist iconographic program chose the themes, the formal approach and the ways of narrative development of the visual discourse, foreseeing the achievement of a specific affective effect for each work. Privileging the most dramatic moments of sacred history,
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Aleijadinho worked during the transition period from Baroque to Rococo; his work reflects characteristics of both. However, the distinction between them is not always clear, which makes many critics consider them a unit; for these critics, Rococo represents the final phase of the Baroque cycle.
589:, but in accordance with an opinion of the State Council of Culture of Minas Gerais, which stated that "due to the absence of supporting elements, it is not possible to make any official pronouncement on the authenticity of the painting referred to in the process", the project was vetoed by the
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Around 1770 he organized his workshop, which was in full expansion, according to the model of craft guilds or medieval guilds, which in 1772 was regulated and recognized by the Chamber of Ouro Preto. Still in 1772, on 5 August, he was received as a brother in the Brotherhood of São José de Ouro
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Another aspect that must be taken into account is the work system in collective workshops that prevailed in Minas Gerais at the time; there is little certainty about the extent of his direct intervention in the execution of many of his works, even the documented ones. Often the master builders
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of the Catholic Church and the rising absolutist monarchies to visibly express their ideals of glory and assert their political power. A correct understanding of Baroque in the arts cannot be achieved by analyzing individual works or artists, but rather by studying its cultural context and the
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maintained a divided position; denied him talent as an architect, and rejected his work in this field as inferior, of a decorative level only, and ironized his person too, calling him "tragic repressed", even though at another time he praised him as "the most high individualized expression of
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Almost nothing is recorded about his personal life, except that he liked to entertain himself in "vulgar dances" and eat well, and that he fell in love with the mulatto Narcisa, with whom he had a son. Nothing was said about his artistic, social or political ideas. He always worked under the
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Aleijadinho's participation as a carver is documented in at least four large altarpieces, as designer and executor. In all of them, his personal style deviates at some significant points from the prevailing Baroque-Rococo models. The most striking feature in these complex compositions, both
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in Ouro Preto, dated 1772, the year in which he joined the corresponding brotherhood. The works were carried out, however, by a poorly qualified craftsman, jeopardizing the aesthetic result. It still features a crowning canopy, but is now devoid of ornaments and boasts a sculptural group.
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states the date of his death as 18 November 1814, adding that the artist was then 76 years old. The 1738 date is accepted by the Aleijadinho Museum, located in Ouro Preto, and according to biographer Silvio de Vasconcelos, the original manuscript by Bretas, found in the archives of the
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folkloric roots for the constitution of his extravagant personal style, such as the satirical iconography of popular culture, marveling at the skilful way in which Aleijadinho introduced elements of the voice of the people into the universe of international Baroque high culture.
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In any case, Rococo was characterized by the abandonment of the heavy and compact decoration of the oldest and typically Baroque coastal temples, full of dense carvings, often completely covered in gold, framing compartmentalized panels painted in somber colors, the so-called
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in the 19th century, who, disconcerted by the apparent errors in carving and design, still recognized moments of remarkable beauty and solemnity in the statues, truly worthy of the prophets. The set is one of the most complete series representing prophets in Western
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After that, a great debate was ignited in the press, and public opinion in Minas Gerais was induced to be favorable to the official recognition of the work as an authentic portrait of Aleijadinho; the proposal was even the subject of a bill that was submitted to the
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The researcher also draws attention to the documentary evidence of receipts signed in 1796, in which Aleijadinho's handwriting is still firm and clear. This is an inexplicable fact if Bretas' biography or the 19th century reports of travelers, such as Luccock,
712:, the Virgin with her heart pierced with knives, bloody crucifixes and martyrs in the apotheosis of their tortures multiplied. But that same devotion, which so often adored the tragic, also shaped countless scenes of ecstasy and heavenly visions, graceful
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Others, in turn, understand Rococo as an autonomous and differentiated current. This debate affects Aleijadinho directly, and sometimes confuses the definition of his personal style and his insertion in the great international aesthetic currents.
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Quadrangular proportions of the hands and nails, with a receding and elongated thumb, the index and little finger apart, and united ring and middle fingers of equal length; in female figures the fingers taper and undulate, rising in their middle
1451:, Gilberto Freyre, Germain Bazin and also by IPHAN technicians, and since then they have expanded even more to address a wide variety of topics about the artist's life and work, generally stating the superlative importance of his contribution.
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In Baroque Europe, the Catholic Church and the courts competed in artistic patronage. The Brazilian Baroque flourished in a very different context, in the period when Brazil was still a colony. The court was across the ocean, in the Portuguese
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region. Daniel, with the lion at his feet, also stands out in the group and it is believed that, due to the perfection of its finish, it is perhaps one of the only pieces in the set entirely made by Aleijadinho. According to Soraia Silva:
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book of the Captaincy of Minas Gerais. The memorandum, written while Aleijadinho was still alive, contained a description of the artist's most notable works and some biographical indications, and was partly based on it that Bretas wrote
1225:, the figure of Christ and possibly the two weeping women, together with the boy carrying a nail from the cross. In the chapel of the Crucifixion, his work would be the images of the nailed Christ and the two thieves who flanked him on
195:, Aleijadinho is considered almost by consensus as the greatest exponent of colonial art in Brazil by Brazilian critics and, surpassing Brazilian borders, for some foreign scholars he is the greatest name of Baroque in the Americas.
468:. The exhumation of his remains in 1930 was inconclusive. The terminal bones of the fingers and toes were not found, but they may have disintegrated after burial, a hypothesis suggested by the state of decay of the larger bones.
313:. He collaborated with José Coelho Noronha in the work of carving the altars of the Mother Church of Caeté, his father's project. His first individual project dates back to 1752, a design for the fountain in the courtyard of the
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In the same category, the monumental washbasins and pulpits he carved in soapstone in churches in Ouro Preto and Sabará should be remembered, all with sculptural work in relief, both ornamental and in descriptive scenes.
1041:") and branches as the central motifs of the ornaments. The shafts of the columns are no longer divided in two by a ring in the lower third, and the pelmet appears to be integrated into the composition by sinuous
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1337:, states that in Aleijadinho's work "the feeling of revolt against the oppressors is alive", making an association between the prophets and the political situation of Minas Gerais, at the time agitated by the
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closed his workshop, but still carried out some work. From 1812 onwards, his health deteriorated further and he began to depend heavily on the people who cared for him. Aleijadinho moved to a house near the
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Aleijadinho worked as an architect, but the extent and nature of this activity are quite controversial. Only documentation survives on the design of two church facades, Our Lady of Carmel in Ouro Preto and
1386:, which were often used there and in Brazil for crowning altarpieces, but the repeated presence of these elements in Portuguese Carmelite churches also suggests a preference for this religious Order.
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Antônio de Noronha, following the instructions of the viceroy, summoned masons, carpenters, locksmiths and blacksmiths to join a military battalion that would work on the reconstruction of a fort in
1473:, which had a record public of 968,577 visitors, the largest public, in absolute numbers, received at an exhibition held in the CCBB Rio since its seventeen years active, surpassing figures for the
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After a period of relative obscurity after his death, even though it was commented on by several travelers and scholars of the first half of the 19th century such as Auguste de Saint-Hilaire and
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The other part of the Matosinhos set are the twelve sculptures of the prophets, made between 1800 and 1805, whose style has been a source of controversy since the manifest misunderstanding of
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Santa, in Ouro Preto, where he would have learned grammar, latin, mathematics and religion. Meanwhile, he assisted his father in the work he carried out at the Church of Antônio Dias and the
572:
There is no news that Aleijadinho was portrayed in life. However, at the beginning of the 20th century, a small portrait of a well-dressed mulatto, with his hands hidden, was found in the
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researchers allied to popular celebrations, where he is the main theme. The artist's prestige with specialized critics accompanies his popularity among Brazilian laypeople. In 2007, the
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808:
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Julian Bell found in the Brazilian ensemble an intensity not surpassed even by the Italian models, and Mário de Andrade read it as an example of a sometimes ferocious expressionism.
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Bretas, took care of him until his death on 18 November 1814. Aleijadinho was buried in the Mother Church of Antônio Dias, in a tomb next to the altar of Our Lady of the Good Death.
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1276:, in a prominent position in the central wing of the staircase — and eight minor prophets, chosen according to the importance established in the order of the biblical canon, namely
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Aleijadinho has already been portrayed as a character in cinema and television: in 1915 Guelfo Andaló directed the first biopic about the artist, in 1968 he was portrayed by
835:, in the enthusiasm that characterized the rediscovery of Aleijadinho by the modernists, went so far as to express himself about his style on an epic scale, saying that:
4435:"Danos ao DNA promovidos por ácido 5-aminolevulínico: possível associação com o desenvolvimento de carcinoma hepatocelular em portadores de porfiria aguda intermitente"
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been "authenticated" in recent years, almost invariably without any documentary foundation. A critical study published in 2003 by researchers linked to the Brazilian
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The prophets have attracted the attention of many researchers, and several theories have been proposed to interpret them. As an example, Martin Dreher, in his book
406:
260:
1013:, replaced by an imposing statuary group, which, according to Oliveira, suggests the artist's primarily sculptural vocation. The first set was the project for the
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223:
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1221:, also the figures of Christ, and one of the Roman soldiers, who would have served as a model for all the others, carved by his assistants. In the chapel of
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Aleijadinho's greatest achievement in full-figure sculpture are the sets at the Sanctuary of Bom Jesus de Matosinhos, in Congonhas — the 66 statues of the
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intended to write a book about him, but that ended up not materializing. However, the studies were expanded in the following years by, among many others,
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Moustache arising from the nostrils, receding from the lips and blending with the beard; the latter is recessed on the face and is split into two rolls;
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Aleijadinho's affiliation with the aforementioned aesthetic schools is a matter of dispute; some authors even detected traces of archaic styles such as
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As an example, the image on the right illustrates one of the numerous works that have been accepted as his authorship based on stylistic comparison, a
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was an admirer of his work. But it was later that his name returned with force to the aesthetic and historical discussion, with the research of
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1154:, of a theatrical and pathetic nature, explicitly intended to invoke pity and compassion, briefly reconstructing the journey of Jesus from the
1430:, sometimes in an unflattering way, Aleijadinho returned to scene with the pioneering biography of Bretas in 1858, already mentioned. Emperor
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Information obtained from an article by Felicidade Patrocínio in the Magazine of the Historical and Geographical Institute of Montes Claros.
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1166:— exactly as is the case with the Sanctuary of Congonhas, erected by Feliciano Mendes in payment of a promise and imitating the model of the
284:
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By comparing the quality of the various individual figures, researchers came to the conclusion that Aleijadinho did not execute all of the
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464:, for example, who was there at the same time, mentioned that Aleijadinho had preserved his hands, albeit paralyzed, a version repeated by
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1999:"Traços biográficos relativos ao finado Antônio Francisco Lisboa, distinto escultor mineiro, mais conhecido pelo apelido de Aleijadinho"
1878:
319:
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1935:
483:, "cardine" intoxication (an unknown substance said to have the power to enhance his artistic gifts, according to an ancient account),
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245:
Traços biográficos relativos ao finado Antônio Francisco Lisboa, distinto escultor mineiro, mais conhecido pelo apelido de Aleijadinho
503:(a disease that produces photosensitivity — which would explain the fact that the artist worked at night or protected by an awning).
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4169:
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1162:. The scenes are usually arranged in a series of chapels that precede a temple placed on top of a hill or mountain — hence the name
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Slanted almond-shaped eyes, with accentuated teardrops and flat pupils; superciliary arches raised and joined in a "V" at the nose;
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between 1790 and his death, when stylization reached extremes, far from naturalism, trying to express spirituality and suffering.
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1572:: He carved the image of São João Batista in soapstone and designed the crossing arch inside the Sanctuary of São João Batista;
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Bretas reported that after 1777 Lisboa began to show signs of a mysterious degenerative disease, which earned him the nickname
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1998:
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1903:
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475:(an unlikely alternative, since Aleijadinho was not excluded from social life, as was the case with all lepers), deforming
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tradition, born in Italy centuries before being re-enacted in Congonhas. The type consists of a set of scenes from the
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fountain for the Terra Santa Hospice and soon after launched himself as a self-employed professional. However, being a
1541:
465:
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Profetas em movimento: dansintersemiotização ou metáfora cênica dos Profetas do Aleijadinho utilizando o método Laban
4277:
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1018:
4299:"Nos bastidores da Arquitetura do Ouro: Aspectos da produção da Arquitetura Religiosa no séc. XVIII em Minas Gerais"
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3774:
3727:"Das Pontes aos Castiçais: A Produção de Mobiliário Artístico em Minas Gerais do séc. XVIII e Os Ofícios Mecânicos"
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Aleijadinho's illness also became an important element in this magnified picture. As summarized by Gomes Junior:
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1406:, which for Mário de Andrade is among his most exquisite creations, combining remarkable sweetness and realism.
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30:
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In 1796 Aleijadinho received another commission of great importance, for the realization of sculptures of the
4309:
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268:
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1752 — Ouro Preto: Fountain of the Palace of the Governors. Project by his father, execution by Aleijadinho;
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Stylized hair, modeled as sinuous and grooved rolls, ending in volutes and with two locks over the forehead;
546:
471:
Several diagnoses have been proposed to explain this disease, all conjectural, which include, among others,
292:
1135:, distributed in six independent chapels, and the Twelve Prophets in the churchyard. All the scenes on the
674:
Baroque, which emerged in Europe at the beginning of the 17th century, was a style of reaction against the
439:
308:
1427:
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Sometimes Aleijadinho is analyzed as a transitional element between Baroque and Rococo, as is the case of
709:
461:
1205:. Of the other chapels, he would have personally carved only some of the figures. In the third, from the
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limited to relatively few commissions (two of them including the large sculptural sets of Congonhas, the
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accompanying Friar Lucas de Santa Clara, the transporter of gold and diamonds that were to be shipped to
215:
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All of his work, including carvings, architectural projects, reliefs and statuary, was carried out in
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of Carmel in Sabará. Bazin related this model to Portuguese Baroque prototypes from the time of king
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514:
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1781 — São João del-Rei: Commission for the design of the main altar of the Church of Saint Francis;
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1675:
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1800–5 — Congonhas: Twelve Prophets for the churchyard of the Sanctuary of Bom Jesus de Matosinhos;
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Rococo can be succinctly described as a softening and lightening of the Baroque. In the opinion of
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297:
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1737:
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and sweet baby Jesus, whose appeal to the simple heart of the people was immediate and effective.
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35:
Supposed posthumous portrait by Euclásio Ventura, 19th century, no contemporary depiction is known
4456:
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Martins, Judite (1939). "Apontamentos para a bibliografia referente a Antônio Francisco Lisboa".
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Actas del III Congreso Internacional del Barroco Americano: Territorio, Arte, Espacio y Sociedad
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Actas del III Congreso Internacional del Barroco Americano: Territorio, Arte, Espacio y Sociedad
1569:
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3707:
Folkcomunicação: um estudo dos agentes e dos meios populares de informação de fatos e expressão
340:, where he may have been influenced by local artists. Two years later, he would have created a
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1829 — Ouro Preto: Lateral altarpieces for the Church of Saint Francis, executed posthumously.
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368:
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1886:
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Antônio Francisco Lisboa was the son of a respected Portuguese master builder and architect,
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2260:"Trabalho referente aos comentários sobre o "Aleijadinho" escritos por Henrique Bernardelli"
1939:
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1667:
1806 — Sabará: Design of the main altar (not accepted) for the Church of Our Lady of Carmel;
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1781–2 — Sabará: Railing, pulpits, choir and main doors of the Church of Our Lady of Carmel;
1518:
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1000:
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1559:
1757 — Ouro Preto: Alto da Cruz Fountain. Project by his father, execution by Aleijadinho;
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1506:
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864:
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other figures of speech, which was plastically reflected in the extreme complexity of the
530:
this search is a peculiar interpretation of the aesthetic phenomenon that was born during
378:
Receipt signed by Aleijadinho when he received payment for the work on the Twelve Prophets
364:
180:
65:
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in São João del-Rei, both started in 1776, but whose outlines were changed in the 1770s.
1609:
1775 — Ouro Preto: Design of the chancel and altar of the Church of Our Lady of Sorrows;
1009:
sculptural and architectural, is the transformation of the crowning arch, now without a
1621:
1779 — Sabará: Design of the railing and a statue for the Church of Our Lady of Carmel;
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1297:
1289:
1230:
1085:, to the point of being fair to call him co-author of the work. According to Oliveira:
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333:
4354:(Thesis) (in Portuguese). São Paulo: Biblioteca Digital de Teses e Dissertações UNESP.
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1810 — São João del-Rei: Design of the frontispiece and railing for the mother church;
359:, in Sabará, and the pulpits of the Church of Saint Francis of Assisi, in Ouro Preto.
127:
4734:
4696:
Recharting the Black Atlantic: modern cultures, local communities, global connections
4120:
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1257:
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713:
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1418:
513:, 1898–1904, romantic reconstruction of an imaginary scene in the artist's life, by
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Arquitetura sagrada no Brasil: sua evolução até as vésperas do Concílio Vaticano II
1588:
1771 — Ouro Preto: Measurement of the project for the Church of Our Lady of Carnel;
203:
96:
61:
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2002:
881:
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4351:
Jair Afonso Inácio, um pioneiro na preservação do patrimônio artístico brasileiro
4065:
4044:
3809:
2821:"O Retábulo da Serra Negra e suas Imagens — Introdução / O Retábulo / As Imagens"
455:
247:, where he reproduced excerpts from the original document, which was later lost.
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Altarpiece of the main chapel of the Church of Saint Francis in São João del-Rei
679:
531:
3617:
Andrade, Mário de; Mello e Souza, Gilda de; Vergueiro, Laura de Campos (1979).
1655:
1799 — Ouro Preto: Four angels on a litter for the Church of Our Lady of Pilar;
1600:
1774 — São João del-Rei: Approval of the design of the Church of Saint Francis;
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Carradas de razões: Lucio Costa e a arquitetura moderna brasileira (1924-1951)
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1612:
1777–8 — Ouro Preto: Inspection of works at the Church of Our Lady of Sorrows;
1490:
767:. It is documented that Aleijadinho had contact with one of the conspirators,
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476:
388:
207:
54:
4067:
Aleijadinho e o aeroplano: o paraíso barroco e a construção do herói colonial
4046:
Aleijadinho e o aeroplano: o paraíso barroco e a construção do herói colonial
3811:
Aleijadinho e o aeroplano: o paraíso barroco e a construção do herói colonial
1618:
1778–9 — Ouro Preto: Design of the main altar of the Church of Saint Francis.
4513:
Sítios históricos e conjuntos urbanos de monumentos nacionais: sudeste e sul
1681:
1808 — Congonhas: Candlesticks for the Sanctuary of Bom Jesus de Matosinhos;
1606:
1774 — Ouro Preto: New design of the doorway of the Church of Saint Francis;
1579:
943:, traditionally attributed to Aleijadinho. Museum of Sacred Art of São Paulo
831:
in his production, which he would have known through Florentine engravings.
692:
500:
341:
279:
219:
92:
444:
211:
4535:(in Portuguese). No. 17. Rio de Janeiro: Conselho Federal de Cultura.
4025:
Palavra peregrina: o Barroco e o pensamento sobre artes e letras no Brasil
4403:
Oliveira, Myriam Andrade Ribeiro (1998). "Escultura no Brasil colonial".
3808:
Chartier, Charles (2008). "Apresentação: ceci n'est pas une biographie".
1685:
1585:
1771–2 — Ouro Preto: Project of the main altar of the Church of São José;
1522:
1403:
1313:
1305:
1265:
1057:
Project for the façade of the Church of Saint Francis in São João del-Rei
1010:
484:
1664:
1804 — Congonhas: Organ box of the Sanctuary of Bom Jesus de Matosinhos;
460:, who visited Minas Gerais in 1818, and is repeated by many others, but
255:
4225:"Rotas Nacionais: Fragmentando os Roteiros Turísticos sobre Ouro Preto"
4112:
4064:
Hansen, João Adolfo (2009). "Prefácio". In Grammont, Guiomar de (ed.).
3671:(in Portuguese). Sevilla: Universidade Pablo de Olavide. Archived from
1661:
1801–6 — Congonhas: Lamps for the Sanctuary of Bom Jesus de Matosinhos;
1615:
1778 — Sabará: Inspection of works at the Church of Our Lady of Carmel;
1597:
1773–4 — Ouro Preto: Cap of the chancel of the Church of Saint Francis;
1565:
1761 — Ouro Preto: Table and 4 benches for the Palace of the Governors;
1293:
1269:
1226:
1197:
images. His work would only be on those of the first chapel, where the
786:
573:
472:
363:
Preto. On 4 March 1776, the governor of the Captaincy of Minas Gerais,
345:
188:
106:
4361:"Entre Douro e Minho e Minas Gerais no séc XVIII: Relações Artísticas"
1645:
1794 — Ouro Preto: Inspection of works in the Church of Saint Francis;
1639:
1790 — Mariana: Registration of the second councilor in the Town Hall;
449:
says that the version that presents him without hands originated with
302:, also working with his uncle Antônio Francisco Pombal, a carver, and
1624:
1781 — Sabará: Unspecified work for the Church of Our Lady of Carmel;
1603:
1774 — Sabará: Unspecified work for the Church of Our Lady of Carmel;
1582:: Measurement of the project for the main altar of the Mother Church;
1575:
1770 — Sabará: Unspecified work for the Church of Our Lady of Carmel;
1362:
1261:
1042:
821:
488:
337:
192:
184:
110:
4087:"Antônio Francisco Lisboa, o Aleijadinho: An Annotated Bibliography"
3620:
Mário de Andrade, Obra Escogida: novela, cuento, ensayo, epistolario
4664:
Transculturation: cities, spaces and architectures in Latin America
1525:. In 1978 Aleijadinho was the subject of a documentary directed by
3948:
Relação dos filactérios com o gestual dos profetas de Congonhas-MG
3930:(in Portuguese). Vol. 4 (3 ed.). São Leopoldo: Sinodal.
2516:
2514:
1701:
1540:
1461:
1417:
1377:
Relief on the portico of the Church of Saint Francis in Ouro Preto
1372:
1319:
1301:
1285:
1281:
1235:
1184:
1171:
1107:
1052:
999:
935:
880:
807:
791:
729:
505:
496:
373:
254:
3600:"A Presença Artística de Antônio Francisco Lisboa, o Aleijadinho"
2173:"A Presença Artística de Antônio Francisco Lisboa, o Aleijadinho"
1201:
is represented, and on those of the second chapel, featuring the
2784:"Justiça recolhe livro que faz análise das obras de Aleijadinho"
2116:
2114:
2112:
2110:
1014:
480:
4628:"A Igreja como Centro Irradiador de Cultura no Brasil Colonial"
3602:. Revista do Instituto Histórico e Geográfico de Montes Claros.
3374:
3372:
3370:
3330:
3328:
1642:
1790–4 — Ouro Preto: Main altar of the Church of Saint Francis;
1394:, and over this a large medallion opens with the figure of the
2956:
2954:
2531:
2529:
1636:
1789 — Ouro Preto: Ara stones for the Church of Saint Francis;
1633:
1785 — Morro Grande: Inspection of works in the mother church;
4543:
Pindorama revisitada: cultura e sociedade em tempos de virada
3776:
A Call for Liberation: Aleijadinho's Prophets as Capoeiristas
3349:
2583:
2258:
Vaccani, Celita (2007). Valle, Arthur; Dazzi, Camila (eds.).
2154:
2152:
2150:
1594:
1771–2 — Ouro Preto: Pulpits for the Church of Saint Francis;
2177:
Revista do Instituto Histórico e Geográfico de Montes Claros
1422:
Postage stamp commemorating 150 years of Aleijadinho's death
418:
Aleijadinho was described by Bretas in the following terms:
2763:
2761:
2310:
2308:
2306:
1795:
1793:
1791:
914:
Half-open mouth and slightly fleshy but well-designed lips;
4683:
Culture wars in Brazil: the first Vargas regime, 1930-1945
4492:
Diálogos brasileiros: uma análise da obra de Roger Bastide
3144:
3142:
3105:
3103:
3101:
2911:"Livro proibido sobre Aleijadinho é liberado pela Justiça"
2405:
2403:
2325:
2323:
2137:
2135:
2133:
2131:
2129:
550:
Imaginary portrait of Aleijadinho, by Henrique Bernardelli
3983:
The buried mirror: reflections on Spain and the New World
2977:
2975:
2973:
2971:
2969:
2342:
2340:
2338:
2188:
2186:
4308:. Sevilha: Universidade Pablo de Olavide. Archived from
4149:
Lemos, Maria Alzira Brum; Alves, Dirceu Martins (2008).
2893:"Editora protesta contra livro censurado de Aleijadinho"
2241:
2239:
1778:
1562:
1761 — Ouro Preto: Bust in the Fountain of Alto da Cruz;
4415:
Rococó religioso no Brasil e seus antecedentes europeus
1963:
1961:
1776:
1774:
1772:
1770:
1768:
1766:
1764:
1762:
1760:
1758:
16:
Colonial Brazilian sculptor and architect (c.1738–1814)
4651:
Vida e Obra de Antônio Francisco Lisboa: o Aleijadinho
3567:"Stênio Garcia é pura disposição: Bebo a água da vida"
3219:
3217:
3215:
2879:"Peça desconhecida de Aleijadinho é exibida em Itu-SP"
2630:
2628:
2293:
2291:
2289:
926:
Short arms, somewhat rigid, especially in the reliefs;
4365:
Labirintos e nós: imagem ibérica em terras da América
2845:. O Estado de Minas. 10 November 2005. Archived from
1858:
1856:
735:
Church of Saint Francis of Assisi in São João del-Rei
4269:
Revista do Patrimônio Histórico e Artístico Nacional
3853:
Devoção e arte: imaginária religiosa em Minas Gerais
979:
National Institute of Historic and Artistic Heritage
222:. The main monuments that contain his works are the
183:, noted for his works on and in various churches of
4468:Paiva, Eduardo França; Ivo, Isnara Pereira (2008).
4271:(in Portuguese). No. 3. Rio de Janeiro: IPHAN.
4229:
Turismo e identidade local: uma visão antropológica
3183:
3181:
917:
Sharp and prominent nose, deep and marked nostrils;
737:, designed by Aleijadinho and modified by Cerqueira
263:, partly designed by Aleijadinho, in the background
120:
102:
88:
72:
40:
21:
3319:
2786:. O Estado de S. Paulo. 1 May 2003. Archived from
4519:(in Portuguese). Brasília: Ministério da Cultura.
4231:(in Portuguese) (5 ed.). Campinas: Papirus.
3646:(in Portuguese) (00600 ed.). Rio de Janeiro.
3496:. Revista Museu. 15 February 2007. Archived from
3478:. Revista Museu. 19 November 2007. Archived from
2219:"Estudos esculpem os traços do gênio Aleijadinho"
3885:A imagem da mulher: um estudo de arte brasileira
3638:Andrade, Rodrigo Melo Franco de (23 July 1943).
2863:. Jornal do Brasil. 13 May 2009. Archived from
2658:
2053:"Estudo aponta causas de doença de Aleijadinho"
1351:
1327:
1213:, and in the one that contains two scenes, the
1189:Scene from the carrying of the cross, Congonhas
1087:
965:
857:
837:
756:
540:
420:
385:
4151:Aleijadinho: homem barroco, artista brasileiro
1879:"Aleijadinho e seu Tempo — Fé, engenho e arte"
1591:1771 — Ouro Preto: Project for a butcher shop;
1324:The set of prophets in the Church of Congonhas
4471:Escravidão, mestiçagem e histórias comparadas
4279:Colonial Latin America: a documentary history
3927:A Igreja Latino-americana No Contexto Mundial
2913:. Revista Museu. 30 June 2003. Archived from
1652:for the Sanctuary of Bom Jesus de Matosinhos;
1469:(CCBB) in Rio de Janeiro held the exhibition
1335:A Igreja Latino-Americana no Contexto Mundial
150:or 1738 – 18 November 1814), better known as
8:
3832:Integração: história, cultura e ciência 2003
3793:(in Portuguese). Brasília: IPHAN/Monumenta.
3133:
2547:
2158:
2120:
2101:
1835:
1471:Aleijadinho e seu Tempo — Fé, Engenho e Arte
4128:Junqueira Filho, Luiz Carlos Uchôa (1995).
3524:"Cristo de Lama: A História do Aleijadinho"
3350:Andrade, Mello e Souza & Vergueiro 1979
3200:
3198:
3196:
2584:Andrade, Mello e Souza & Vergueiro 1979
2266:. Vol. II, no. 1. Rio de Janeiro.
1952:
1357:Today the entire set of the Sanctuary is a
179:), was a sculptor, carver and architect of
164:
4811:Portuguese colonial architecture in Brazil
3686:El espejo del mundo: una historia del arte
3283:
2778:
2776:
2696:"FAOP reverencia herdeiros do Aleijadinho"
29:
18:
4632:Arte Sacra Colonial: barroco memória viva
4450:
4412:Oliveira, Myriam Andrade Ribeiro (2003).
4102:
4070:(in Portuguese). Civilização Brasileira.
4049:(in Portuguese). Civilização Brasileira.
4004:Literatura, política, cultura (1994-2004)
3583:. Porta Curtas, Petrobras. Archived from
3549:"Aleijadinho - Paixão, Glória e Suplício"
3450:
1992:
1990:
1988:
1986:
1984:
1982:
1980:
1978:
1976:
1873:
1871:
4330:Dicionário da escravidão negra no Brasil
3402:
3378:
3334:
3172:
3080:
3068:
3044:
3005:
2993:
2960:
2945:"Aleijadinho, nosso Quasímodo romântico"
2740:
2682:
2619:
2607:
2571:
2535:
2520:
2462:. Universidad Pablo de Olavide, Sevilha.
2421:
2394:
2370:
2204:
1930:
1928:
1926:
1924:
1922:
1920:
1918:
1916:
1799:
1365:, in addition to being listed by IPHAN.
545:
83:Vila Rica, Minas Gerais, State of Brazil
4653:(in Portuguese). São Paulo: Plamipress.
4405:O Universo Mágico do Barroco Brasileiro
4022:Gomes Júnior, Guilherme Simões (1998).
3882:Costa, Maria Cristina Castilho (2002).
3653:O Universo Mágico do Barroco Brasileiro
3426:
3414:
3390:
3235:
3056:
3032:
3018:Marianno Filho, José (10 August 2007).
2881:. O Estado de S. Paulo. 26 August 2009.
2803:"Sai catálogo com obras do Aleijadinho"
2767:
2595:
2346:
2245:
2089:
2027:
2015:
1898:
1896:
1847:
1726:
1515:Aleijadinho - Paixão, Glória e Suplício
932:Sharp expressiveness, penetrating gaze.
877:The authorship and personal style issue
771:, but his political views are unknown.
4771:Brazilian people of Portuguese descent
4418:(in Portuguese). Cosac Naify Edições.
3945:Ferraz, Marcides Janes Chaves (2006).
3361:
3259:
3247:
3160:
3092:
2895:. O Globo. 15 May 2003. Archived from
2752:
2728:
2716:
2409:
2141:
2039:
2001:. Museu do Aleijadinho. Archived from
1938:. Museu do Aleijadinho. Archived from
1732:
1730:
1229:, in addition, possibly, also that of
4546:(in Portuguese). Editora Peirópolis.
4526:"O Retrato Imaginário do Aleijadinho"
3787:Arte e Arquitetura do Brasil Colonial
3510:
3307:
3295:
3271:
3223:
3121:
2981:
2670:
2559:
2505:
2493:
2382:
2358:
2329:
2314:
2297:
2217:Werneck, Gustavo (23 November 2013).
2192:
2077:
1967:
1862:
1823:
1811:
1692:for the Church of Our Lady of Carmel;
1678:for the Church of Our Lady of Carmel;
1489:the copious folklore that, since the
901:Foot placements close to right angle;
332:In 1756 Aleijadinho may have gone to
158:
7:
4609:The arts in Latin America, 1492-1820
4134:(in Portuguese). Casa do Psicólogo.
3462:
3438:
3187:
3148:
3109:
2843:"Mais uma obra do gênio Aleijadinho"
2646:
2634:
1782:
1684:1808–9 — Ouro Preto: Altarpieces of
1100:Sanctuary of Bom Jesus de Matosinhos
587:Legislative Assembly of Minas Gerais
228:Sanctuary of Bom Jesus of Matosinhos
4801:19th-century Brazilian male artists
4634:(in Portuguese). São Paulo: UNESP.
4567:(in Portuguese). São Paulo: EdUSP.
4359:Oliveira, Eduardo Pires de (1999).
4333:(in Portuguese). São Paulo: EdUSP.
4028:(in Portuguese). São Paulo: EdUSP.
3856:(in Portuguese). São Paulo: EdUSP.
3779:(Thesis). Brigham Young University.
1648:1796–9 — Congonhas: Figures of the
1074:undergone several modifications by
3954:(Thesis) (in Portuguese). UninCor.
3909:. University of California Press.
3020:"Aleijadinho não era um Arquiteto"
2928:Prado, Adriana (5 November 2010).
1670:1807 — Ouro Preto: Altarpieces of
261:Church of Our Lady of Mount Carmel
14:
4407:(in Portuguese). São Paulo: Sesi.
4348:Nóbrega, Isabel Cristina (1997).
4164:(in Portuguese). Edições Loyola.
3965:(in Portuguese). Edições Loyola.
3877:(in Portuguese). Editora Cultrix.
3655:(in Portuguese). São Paulo: SESI.
1904:"Um Mistério Chamado Aleijadinho"
1513:, Maurício Gonçalves in the film
953:Museum of Sacred Art of São Paulo
951:, today in the collection of the
640:Angel with the chalice of Passion
414:The man, the disease and the myth
224:Church of Saint Francis of Assisi
4489:Peixoto, Fernanda Arêas (2000).
4185:. Fundacion Biblioteca Ayacuch.
4131:Corpo mente: uma fronteira móvel
3623:. Fundacion Biblioteca Ayacuch.
1475:São Paulo International Biennial
1256:. The four main prophets of the
653:
632:
126:
4649:Vasconcelos, Silvio de (1979).
4452:10.1590/S0100-40422002000400015
4007:(in Portuguese). Editora UFMG.
4001:Gomes, Renato Cordeiro (2005).
3660:Baeta, Rodrigo Espinha (2001).
3598:Patrocínio, Felicidade (2007).
2801:Kaz, Roberto (1 October 2006).
2171:Patrocínio, Felicidade (2007).
1997:Bretas, Rodrigo José Ferreira.
605:Historical and artistic context
491:, physical trauma from a fall,
4796:18th-century Brazilian artists
4388:(in Portuguese). FGV Editora.
4382:Oliveira, Lúcia Lippi (2008).
4091:Latin American Research Review
3640:"Novidade sobre o Aleijadinho"
2861:"Aleijadinho inédito no Forte"
2702:. 10 July 2008. Archived from
2281:Encyclopædia Britannica Online
1467:Bank of Brazil Cultural Center
1449:Rodrigo Melo Franco de Andrade
1104:Twelve Prophets of Aleijadinho
996:Gilded woodcarving in Portugal
813:Jesus mocked by Roman soldiers
206:, especially in the cities of
1:
4806:Rococo architecture in Brazil
4692:"Slavery, History and Satyre"
4533:Revista Brasileira de Cultura
4385:Cultura é patrimônio: um guia
4043:Grammont, Guiomar de (2009).
3986:. Houghton Mifflin Harcourt.
3208:. Enciclopédia Itaú Cultural.
2471:California State University.
1456:Portuguese art of its time".
886:Christ in the Mount of Olives
259:View of Ouro Preto, with the
144:
4561:Silva, Soraia Maria (2001).
4474:(in Portuguese). Annablume.
4297:Miranda, Selma Melo (2001).
4282:. Rowman & Littlefield.
3773:Bowen, Monica Jayne (2008).
3662:"Ouro Preto: Cidade Barroca"
3569:. Rede Globo. 14 March 2010.
2943:Magri, Dirceu (2 May 2010).
1495:federal government of Brazil
1203:Agony in the Mount of Olives
1113:Jesus restores Malchus's ear
855:. John Bury considers that:
407:Church of Our Lady of Carmel
350:Church of Our Lady of Carmel
4626:Tirapeli, Percival (2005).
4510:Programa Monumenta (2005).
3835:(in Portuguese). EDIPUCRS.
3710:(in Portuguese). EDIPUCRS.
3476:"32ª Semana do Aleijadinho"
2930:"O mistério de Aleijadinho"
1146:is old, dating back to the
1076:Francisco de Lima Cerqueira
466:Wilhelm Ludwig von Eschwege
4847:
4540:Sevcenko, Nicolau (2000).
4276:Mills, Kenneth R. (2002).
4200:Lima, José Lezama (2004).
4179:Lima, José Lezama (1981).
4153:(in Portuguese). Garamond.
3494:"Aleijadinho bate Picasso"
2452:Ouro Preto: Cidade Barroca
2438:Enciclopédia Itaú Cultural
1910:, Editora Abril, s/d. p. 1
1742:Enciclopédia Itaú Cultural
1097:
993:
723:
613:
187:. With a style related to
4781:Brazilian Roman Catholics
4681:Williams, Daryle (2001).
4611:. Yale University Press.
4603:Sullivan, Edward (2006).
4582:St. Louis, Regis (2008).
4246:Manguel, Alberto (2003).
4158:Leonídio, Otávio (2007).
4104:10.1017/S0023879100026224
3906:The epic of Latin America
3814:(in Portuguese). Record.
3551:. Webcine. Archived from
3206:"Profetas do Aleijadinho"
1119:), Sanctuary of Congonhas
798:Christ carrying the cross
521:magazine of a lost screen
304:Francisco Xavier de Brito
156:Portuguese pronunciation:
134:
125:
116:
28:
4786:People from Minas Gerais
4685:. Duke University Press.
4658:Vivanco, Sandra (2005).
4495:(in Portuguese). EdUSP.
4367:(in Portuguese). UNESP.
3980:Fuentes, Carlos (1999).
3888:(in Portuguese). Senac.
3850:Coelho, Beatriz (2005).
3758:. Companhia das Letras.
3755:Dialética da colonização
3725:Brandão, Angela (2009).
3651:Araújo, Emanuel (1998).
1710:, Sanctuary of Congonhas
1537:List of documented works
1527:Joaquim Pedro de Andrade
904:Drapes with sharp folds;
815:, Sanctuary of Congonhas
511:Aleijadinho in Vila Rica
462:Auguste de Saint-Hilaire
141:Antônio Francisco Lisboa
58:(present day Ouro Preto)
4831:Culture in Minas Gerais
4725:Encyclopædia Britannica
4524:Renault, Deslo (1973).
4202:"La curiosidad barroca"
4085:Hogan, James E (1974).
3959:Frade, Gabriel (2007).
3924:Dreher, Martin (1999).
3829:Clemente, Elvo (2004).
3320:Programa Monumenta 2005
3022:. Revista Vivercidades.
2523:, pp. 58, 249–251.
1485:(817,782) exhibitions.
1477:(535,000), and for the
1400:Saint Francis of Assisi
1339:Minas Gerais Conspiracy
1064:Saint Francis of Assisi
949:Nossa Senhora das Dores
941:Nossa Senhora das Dores
769:Cláudio Manuel da Costa
765:Minas Gerais Conspiracy
269:Manuel Francisco Lisboa
4816:Brazilian slave owners
4791:People from Ouro Preto
4660:"Trope of the Tropics"
4433:Onuki, Janice (2002).
4327:Moura, Clóvis (2004).
3903:Crow, John A. (1992).
3752:Bosi, Alfredo (2001).
3704:Beltrão, Luiz (2001).
3284:Lemos & Alves 2008
2947:. Revista Philomatica.
2827:. 2004. Archived from
2474:História de Ouro Preto
1936:"O Mestre Aleijadinho"
1885:, 2006, archived from
1712:
1549:
1423:
1402:appears receiving the
1378:
1355:
1331:
1325:
1244:
1209:, Christ and possibly
1190:
1120:
1091:
1058:
1005:
969:
944:
893:
861:
841:
816:
805:
760:
738:
579:Manoel da Costa Ataíde
551:
544:
522:
424:
393:
379:
285:Archdiocese of Mariana
264:
226:in Ouro Preto and the
160:[aleiʒaˈdʒiɲu]
4826:Afro-Brazilian people
4741:Aleijadinho buildings
4690:Wood, Marcus (2008).
4223:Lópes, Tania (2001).
4182:El reino de la imagen
3683:Bell, Julian (2008).
1705:
1544:
1521:in a Special Case on
1421:
1376:
1323:
1239:
1223:Carrying of the Cross
1188:
1111:
1098:Further information:
1056:
1003:
994:Further information:
939:
884:
811:
795:
733:
663:, Conhonhas Sanctuary
614:Further information:
549:
509:
396:Final years and death
377:
258:
148: 29 August 1730
4746:Brazilian architects
4208:. Verbum Editorial.
3871:Colangelo, Adriano.
3689:. Editorial Paidós.
3173:Paiva & Ivo 2008
2825:Revista Museu online
2700:Revista Museu online
2659:Junqueira Filho 1995
2434:"Barroco brasileiro"
2277:"Baroque and Rococo"
1219:Crowning with Thorns
1142:The typology of the
710:Christ being flogged
661:Crucifixion of Jesus
616:Baroque architecture
599:Henrique Bernardelli
561:Francis de Castelnau
515:Henrique Bernardelli
493:rheumatoid arthritis
4776:Deaths from leprosy
4751:Brazilian sculptors
4252:. Editorial Norma.
3784:Bury, John (2006).
3740:(2). Archived from
3381:, pp. 110–111.
3337:, pp. 229–237.
3163:, pp. 137–139.
3151:, pp. 135–136.
3112:, pp. 392–393.
3059:, pp. 773–774.
3047:, pp. 219–220.
3035:, pp. 775–776.
2996:, pp. 268–270.
2963:, pp. 259–267.
2849:on 22 January 2012.
2807:Revista de História
2731:, pp. 136–137.
2706:on 22 January 2012.
2661:, pp. 171–172.
2610:, pp. 101–104.
2538:, pp. 150–154.
2317:, pp. 356–357.
2080:, pp. 594–608.
1676:Our Lady of Sorrows
1483:Guerreiros de Xi'an
1359:World Heritage Site
684:Counter-Reformation
624:Rococo architecture
557:Friedrich von Weech
3734:Revista Científica
2480:2009-03-28 at the
2458:2020-10-28 at the
2332:, pp. 383–94.
2059:. 30 November 2004
1942:on 1 January 2019.
1713:
1550:
1545:Detail of prophet
1501:In popular culture
1424:
1414:Critical reception
1379:
1347:Giuseppe Ungaretti
1326:
1249:Bernardo Guimarães
1245:
1240:Detail of prophet
1191:
1121:
1059:
1019:Church of São José
1006:
990:Gilded woodcarving
945:
894:
817:
806:
739:
610:Baroque and Rococo
552:
523:
517:. Reproduction in
380:
265:
4821:Rococo architects
4588:. Lonely Planet.
4574:978-85-3140-623-2
4502:978-85-314-0568-6
4077:978-85-200-0826-3
4056:978-85-200-0826-3
3821:978-85-2000-826-3
3800:978-85-7334-034-1
3736:(in Portuguese).
3393:, pp. 60–68.
3274:, pp. 95–96.
3175:, pp. 81–82.
3134:Gomes Júnior 1998
2984:, pp. 70–71.
2770:, pp. 52–53.
2649:, pp. 46–47.
2548:Gomes Júnior 1998
2508:, pp. 20–26.
2449:Rodrigo Espinha.
2412:, pp. 16–18.
2385:, pp. 63–64.
2373:, pp. 39–47.
2361:, pp. 55–56.
2207:, pp. 33–43.
2195:, pp. 75–76.
2159:Gomes Júnior 1998
2144:, pp. 18–25.
2123:, pp. 59–66.
2121:Gomes Júnior 1998
2104:, pp. 59–60.
2102:Gomes Júnior 1998
1838:, pp. 56–60.
1836:Gomes Júnior 1998
1826:, pp. 55–56.
1802:, pp. 13–15.
1785:, pp. 18–35.
1361:, as declared by
1168:homonymous shrine
863:The influence of
620:Baroque in Brazil
369:Rio Grande do Sul
138:
137:
59:
4838:
4756:Rococo sculptors
4709:
4686:
4677:
4654:
4645:
4622:
4605:"The Black Hand"
4599:
4578:
4557:
4536:
4530:
4520:
4518:
4506:
4485:
4464:
4454:
4429:
4408:
4399:
4378:
4355:
4344:
4323:
4321:
4320:
4314:
4303:
4293:
4272:
4263:
4249:Leyendo imagenes
4242:
4219:
4196:
4175:
4154:
4145:
4124:
4106:
4081:
4060:
4039:
4018:
3997:
3976:
3955:
3953:
3941:
3920:
3899:
3878:
3874:Mil anos de arte
3867:
3846:
3825:
3804:
3792:
3780:
3769:
3748:
3746:
3731:
3721:
3700:
3679:
3677:
3666:
3656:
3647:
3634:
3604:
3603:
3595:
3589:
3588:
3577:
3571:
3570:
3563:
3557:
3556:
3545:
3539:
3538:
3536:
3535:
3526:. Archived from
3520:
3514:
3508:
3502:
3501:
3490:
3484:
3483:
3472:
3466:
3460:
3454:
3448:
3442:
3436:
3430:
3424:
3418:
3412:
3406:
3400:
3394:
3388:
3382:
3376:
3365:
3359:
3353:
3347:
3338:
3332:
3323:
3317:
3311:
3305:
3299:
3293:
3287:
3281:
3275:
3269:
3263:
3257:
3251:
3245:
3239:
3233:
3227:
3221:
3210:
3209:
3202:
3191:
3185:
3176:
3170:
3164:
3158:
3152:
3146:
3137:
3131:
3125:
3119:
3113:
3107:
3096:
3090:
3084:
3078:
3072:
3066:
3060:
3054:
3048:
3042:
3036:
3030:
3024:
3023:
3015:
3009:
3003:
2997:
2991:
2985:
2979:
2964:
2958:
2949:
2948:
2940:
2934:
2933:
2925:
2919:
2918:
2907:
2901:
2900:
2889:
2883:
2882:
2875:
2869:
2868:
2857:
2851:
2850:
2839:
2833:
2832:
2817:
2811:
2810:
2798:
2792:
2791:
2780:
2771:
2765:
2756:
2750:
2744:
2738:
2732:
2726:
2720:
2714:
2708:
2707:
2692:
2686:
2680:
2674:
2668:
2662:
2656:
2650:
2644:
2638:
2632:
2623:
2617:
2611:
2605:
2599:
2593:
2587:
2581:
2575:
2569:
2563:
2557:
2551:
2545:
2539:
2533:
2524:
2518:
2509:
2503:
2497:
2491:
2485:
2469:
2463:
2447:
2441:
2431:
2425:
2419:
2413:
2407:
2398:
2397:, pp. 8–11.
2392:
2386:
2380:
2374:
2368:
2362:
2356:
2350:
2344:
2333:
2327:
2318:
2312:
2301:
2295:
2284:
2274:
2268:
2267:
2255:
2249:
2243:
2234:
2233:
2231:
2229:
2214:
2208:
2202:
2196:
2190:
2181:
2180:
2168:
2162:
2156:
2145:
2139:
2124:
2118:
2105:
2099:
2093:
2087:
2081:
2075:
2069:
2068:
2066:
2064:
2049:
2043:
2037:
2031:
2025:
2019:
2013:
2007:
2006:
2005:on 16 June 2012.
1994:
1971:
1965:
1956:
1953:Vasconcelos 1979
1950:
1944:
1943:
1932:
1911:
1900:
1891:
1890:
1889:on 22 April 2016
1875:
1866:
1860:
1851:
1845:
1839:
1833:
1827:
1821:
1815:
1809:
1803:
1797:
1786:
1780:
1753:
1752:
1750:
1748:
1734:
1650:Passos da Paixão
1529:and narrated by
1392:Franciscan Order
1152:Passion of Jesus
1133:Passos da Paixão
1084:
1027:
833:Mário de Andrade
787:Portuguese tiles
784:
657:
636:
459:
448:
358:
323:
315:Governors Palace
312:
301:
277:
216:São João del-Rei
178:
175:
172:
169:
166:
162:
157:
149:
146:
130:
79:
76:18 November 1814
57:
50:
48:
33:
19:
4846:
4845:
4841:
4840:
4839:
4837:
4836:
4835:
4731:
4730:
4716:
4706:
4689:
4680:
4674:
4657:
4648:
4642:
4625:
4619:
4602:
4596:
4581:
4575:
4560:
4554:
4539:
4528:
4523:
4516:
4509:
4503:
4488:
4482:
4467:
4432:
4426:
4411:
4402:
4396:
4381:
4375:
4358:
4347:
4341:
4326:
4318:
4316:
4312:
4301:
4296:
4290:
4275:
4266:
4260:
4245:
4239:
4222:
4216:
4199:
4193:
4178:
4172:
4157:
4148:
4142:
4127:
4084:
4078:
4063:
4057:
4042:
4036:
4021:
4015:
4000:
3994:
3979:
3973:
3958:
3951:
3944:
3938:
3923:
3917:
3902:
3896:
3881:
3870:
3864:
3849:
3843:
3828:
3822:
3807:
3801:
3790:
3783:
3772:
3766:
3751:
3744:
3729:
3724:
3718:
3703:
3697:
3682:
3678:on 5 July 2010.
3675:
3664:
3659:
3650:
3637:
3631:
3616:
3613:
3608:
3607:
3597:
3596:
3592:
3581:"O Aleijadinho"
3579:
3578:
3574:
3565:
3564:
3560:
3547:
3546:
3542:
3533:
3531:
3522:
3521:
3517:
3509:
3505:
3492:
3491:
3487:
3474:
3473:
3469:
3461:
3457:
3449:
3445:
3441:, p. 1095.
3437:
3433:
3425:
3421:
3413:
3409:
3401:
3397:
3389:
3385:
3377:
3368:
3360:
3356:
3348:
3341:
3333:
3326:
3318:
3314:
3306:
3302:
3294:
3290:
3282:
3278:
3270:
3266:
3258:
3254:
3246:
3242:
3234:
3230:
3222:
3213:
3204:
3203:
3194:
3186:
3179:
3171:
3167:
3159:
3155:
3147:
3140:
3132:
3128:
3120:
3116:
3108:
3099:
3091:
3087:
3079:
3075:
3067:
3063:
3055:
3051:
3043:
3039:
3031:
3027:
3017:
3016:
3012:
3004:
3000:
2992:
2988:
2980:
2967:
2959:
2952:
2942:
2941:
2937:
2927:
2926:
2922:
2909:
2908:
2904:
2891:
2890:
2886:
2877:
2876:
2872:
2859:
2858:
2854:
2841:
2840:
2836:
2819:
2818:
2814:
2800:
2799:
2795:
2790:on 29 May 2003.
2782:
2781:
2774:
2766:
2759:
2751:
2747:
2739:
2735:
2727:
2723:
2715:
2711:
2694:
2693:
2689:
2681:
2677:
2673:, pp. 3–4.
2669:
2665:
2657:
2653:
2645:
2641:
2633:
2626:
2618:
2614:
2606:
2602:
2594:
2590:
2582:
2578:
2570:
2566:
2558:
2554:
2546:
2542:
2534:
2527:
2519:
2512:
2504:
2500:
2492:
2488:
2482:Wayback Machine
2470:
2466:
2460:Wayback Machine
2448:
2444:
2432:
2428:
2420:
2416:
2408:
2401:
2393:
2389:
2381:
2377:
2369:
2365:
2357:
2353:
2345:
2336:
2328:
2321:
2313:
2304:
2296:
2287:
2275:
2271:
2257:
2256:
2252:
2244:
2237:
2227:
2225:
2223:Estado de Minas
2216:
2215:
2211:
2203:
2199:
2191:
2184:
2170:
2169:
2165:
2157:
2148:
2140:
2127:
2119:
2108:
2100:
2096:
2088:
2084:
2076:
2072:
2062:
2060:
2051:
2050:
2046:
2038:
2034:
2026:
2022:
2014:
2010:
1996:
1995:
1974:
1966:
1959:
1951:
1947:
1934:
1933:
1914:
1901:
1894:
1877:
1876:
1869:
1861:
1854:
1846:
1842:
1834:
1830:
1822:
1818:
1810:
1806:
1798:
1789:
1781:
1756:
1746:
1744:
1736:
1735:
1728:
1723:
1718:
1711:
1708:The last supper
1570:Barão de Cocais
1539:
1531:Ferreira Gullar
1507:Geraldo Del Rey
1503:
1441:Blaise Cendrars
1416:
1390:symbols of the
1371:
1179:Gilberto Freyre
1117:Prison of Jesus
1106:
1096:
1078:
1051:
1021:
998:
992:
987:
879:
874:
778:
776:Myriam Oliveira
728:
722:
668:
667:
666:
665:
664:
658:
649:
648:
647:
637:
626:
612:
607:
570:
453:
442:
416:
398:
352:
330:
324:in Ouro Preto.
317:
306:
295:
293:Casa dos Contos
271:
253:
236:
181:Colonial Brazil
176:
173:
170:
167:
155:
147:
84:
81:
77:
68:
66:State of Brazil
52:
46:
44:
36:
24:
17:
12:
11:
5:
4844:
4842:
4834:
4833:
4828:
4823:
4818:
4813:
4808:
4803:
4798:
4793:
4788:
4783:
4778:
4773:
4768:
4763:
4758:
4753:
4748:
4743:
4733:
4732:
4729:
4728:
4715:
4714:External links
4712:
4711:
4710:
4704:
4687:
4678:
4672:
4655:
4646:
4640:
4623:
4617:
4600:
4594:
4579:
4573:
4558:
4552:
4537:
4521:
4507:
4501:
4486:
4480:
4465:
4445:(4): 594–608.
4430:
4424:
4409:
4400:
4394:
4379:
4373:
4356:
4345:
4339:
4324:
4294:
4288:
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4082:
4076:
4061:
4055:
4040:
4034:
4019:
4013:
3998:
3992:
3977:
3971:
3956:
3942:
3936:
3921:
3915:
3900:
3894:
3879:
3868:
3862:
3847:
3841:
3826:
3820:
3805:
3799:
3781:
3770:
3764:
3749:
3747:on 2015-05-20.
3722:
3716:
3701:
3695:
3680:
3657:
3648:
3635:
3629:
3612:
3609:
3606:
3605:
3590:
3587:on 2007-03-01.
3572:
3558:
3555:on 2003-03-28.
3540:
3515:
3513:, p. 253.
3503:
3500:on 2016-03-10.
3485:
3482:on 2016-03-10.
3467:
3465:, p. 315.
3455:
3453:, p. 252.
3451:St. Louis 2008
3443:
3431:
3429:, p. 241.
3419:
3417:, p. 193.
3407:
3395:
3383:
3366:
3364:, p. 136.
3354:
3352:, p. 233.
3339:
3324:
3312:
3300:
3288:
3286:, p. 100.
3276:
3264:
3252:
3250:, p. 114.
3240:
3238:, p. 240.
3228:
3211:
3192:
3177:
3165:
3153:
3138:
3126:
3114:
3097:
3095:, p. 138.
3085:
3083:, p. 270.
3073:
3071:, p. 230.
3061:
3049:
3037:
3025:
3010:
3008:, p. 219.
2998:
2986:
2965:
2950:
2935:
2920:
2917:on 2016-03-23.
2902:
2899:on 2016-03-09.
2884:
2870:
2867:on 2016-03-06.
2852:
2834:
2831:on 5 May 2004.
2812:
2793:
2772:
2757:
2755:, p. 137.
2745:
2733:
2721:
2719:, p. 139.
2709:
2687:
2685:, p. 131.
2675:
2663:
2651:
2639:
2637:, p. 399.
2624:
2622:, p. 153.
2612:
2600:
2588:
2586:, p. 235.
2576:
2574:, p. 178.
2564:
2552:
2540:
2525:
2510:
2498:
2496:, p. 981.
2486:
2464:
2442:
2426:
2414:
2399:
2387:
2375:
2363:
2351:
2349:, p. 201.
2334:
2319:
2302:
2285:
2269:
2250:
2235:
2209:
2197:
2182:
2179:. Vol. I.
2163:
2146:
2125:
2106:
2094:
2082:
2070:
2044:
2042:, p. 113.
2032:
2020:
2008:
1972:
1970:, p. 358.
1957:
1945:
1912:
1908:Revista Bravo!
1902:Kato, Gisele.
1892:
1867:
1852:
1850:, p. 179.
1840:
1828:
1816:
1804:
1787:
1754:
1725:
1724:
1722:
1719:
1717:
1714:
1706:
1700:
1699:
1696:
1693:
1686:Saint Quiteria
1682:
1679:
1668:
1665:
1662:
1659:
1656:
1653:
1646:
1643:
1640:
1637:
1634:
1631:
1628:
1625:
1622:
1619:
1616:
1613:
1610:
1607:
1604:
1601:
1598:
1595:
1592:
1589:
1586:
1583:
1576:
1573:
1566:
1563:
1560:
1557:
1538:
1535:
1511:Cristo de Lama
1502:
1499:
1481:(905,000) and
1479:Picasso Na Oca
1428:Richard Burton
1415:
1412:
1370:
1367:
1260:are present —
1231:Mary Magdalene
1095:
1092:
1050:
1047:
991:
988:
986:
983:
934:
933:
930:
927:
924:
921:
918:
915:
912:
909:
905:
902:
878:
875:
873:
870:
724:Main article:
721:
720:The gold cycle
718:
659:
652:
651:
650:
638:
631:
630:
629:
628:
627:
611:
608:
606:
603:
569:
566:
415:
412:
397:
394:
334:Rio de Janeiro
329:
326:
252:
249:
235:
232:
174:little cripple
136:
135:
132:
131:
123:
122:
118:
117:
114:
113:
104:
100:
99:
90:
89:Known for
86:
85:
82:
80:(aged 76)
74:
70:
69:
53:
51:29 August 1738
42:
38:
37:
34:
26:
25:
22:
15:
13:
10:
9:
6:
4:
3:
2:
4843:
4832:
4829:
4827:
4824:
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4809:
4807:
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4797:
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4769:
4767:
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4738:
4736:
4727:
4726:
4721:
4718:
4717:
4713:
4707:
4705:9780415961110
4701:
4698:. Routledge.
4697:
4693:
4688:
4684:
4679:
4675:
4669:
4665:
4661:
4656:
4652:
4647:
4643:
4641:9788571396340
4637:
4633:
4629:
4624:
4620:
4618:9780300120035
4614:
4610:
4606:
4601:
4597:
4595:9781742203164
4591:
4587:
4586:
4580:
4576:
4570:
4566:
4565:
4559:
4555:
4553:9788585663469
4549:
4545:
4544:
4538:
4534:
4527:
4522:
4515:
4514:
4508:
4504:
4498:
4494:
4493:
4487:
4483:
4481:9788574198347
4477:
4473:
4472:
4466:
4462:
4458:
4453:
4448:
4444:
4440:
4436:
4431:
4427:
4425:9788575031865
4421:
4417:
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4340:85-314-0812-1
4336:
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4325:
4315:on 2020-10-28
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4289:0-8420-2997-4
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4010:
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3863:9788531408847
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3842:9788574304755
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3765:9788571642768
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3717:9788574302140
3713:
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3696:9788449321399
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3630:9788466000239
3626:
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3573:
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3562:
3559:
3554:
3550:
3544:
3541:
3530:on 2021-05-07
3529:
3525:
3519:
3516:
3512:
3507:
3504:
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3486:
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3447:
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3440:
3435:
3432:
3428:
3423:
3420:
3416:
3411:
3408:
3405:, p. 51.
3404:
3403:Leonídio 2007
3399:
3396:
3392:
3387:
3384:
3380:
3379:Williams 2001
3375:
3373:
3371:
3367:
3363:
3358:
3355:
3351:
3346:
3344:
3340:
3336:
3335:Oliveira 2003
3331:
3329:
3325:
3322:, p. 39.
3321:
3316:
3313:
3310:, p. 59.
3309:
3304:
3301:
3297:
3292:
3289:
3285:
3280:
3277:
3273:
3268:
3265:
3262:, p. 50.
3261:
3256:
3253:
3249:
3244:
3241:
3237:
3232:
3229:
3226:, p. 91.
3225:
3220:
3218:
3216:
3212:
3207:
3201:
3199:
3197:
3193:
3189:
3184:
3182:
3178:
3174:
3169:
3166:
3162:
3157:
3154:
3150:
3145:
3143:
3139:
3136:, p. 56.
3135:
3130:
3127:
3124:, p. 71.
3123:
3118:
3115:
3111:
3106:
3104:
3102:
3098:
3094:
3089:
3086:
3082:
3081:Grammont 2009
3077:
3074:
3070:
3069:Oliveira 2003
3065:
3062:
3058:
3053:
3050:
3046:
3045:Oliveira 2003
3041:
3038:
3034:
3029:
3026:
3021:
3014:
3011:
3007:
3006:Oliveira 2003
3002:
2999:
2995:
2994:Oliveira 2003
2990:
2987:
2983:
2978:
2976:
2974:
2972:
2970:
2966:
2962:
2961:Oliveira 2003
2957:
2955:
2951:
2946:
2939:
2936:
2931:
2924:
2921:
2916:
2912:
2906:
2903:
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2826:
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2816:
2813:
2808:
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2785:
2779:
2777:
2773:
2769:
2764:
2762:
2758:
2754:
2749:
2746:
2743:, p. 51.
2742:
2741:Sullivan 2006
2737:
2734:
2730:
2725:
2722:
2718:
2713:
2710:
2705:
2701:
2697:
2691:
2688:
2684:
2683:Oliveira 1998
2679:
2676:
2672:
2667:
2664:
2660:
2655:
2652:
2648:
2643:
2640:
2636:
2631:
2629:
2625:
2621:
2620:Clemente 2004
2616:
2613:
2609:
2608:Oliveira 2003
2604:
2601:
2598:, p. 62.
2597:
2592:
2589:
2585:
2580:
2577:
2573:
2572:Oliveira 2003
2568:
2565:
2562:, p. 64.
2561:
2556:
2553:
2550:, p. 83.
2549:
2544:
2541:
2537:
2536:Oliveira 1999
2532:
2530:
2526:
2522:
2521:Oliveira 2003
2517:
2515:
2511:
2507:
2502:
2499:
2495:
2490:
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2479:
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2475:
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2465:
2461:
2457:
2454:
2453:
2446:
2443:
2439:
2435:
2430:
2427:
2424:, p. 17.
2423:
2422:Oliveira 2008
2418:
2415:
2411:
2406:
2404:
2400:
2396:
2395:Tirapeli 2005
2391:
2388:
2384:
2379:
2376:
2372:
2371:Sevcenko 2000
2367:
2364:
2360:
2355:
2352:
2348:
2343:
2341:
2339:
2335:
2331:
2326:
2324:
2320:
2316:
2311:
2309:
2307:
2303:
2300:, p. 89.
2299:
2294:
2292:
2290:
2286:
2283:, 01/07/2010.
2282:
2278:
2273:
2270:
2265:
2261:
2254:
2251:
2248:, p. 79.
2247:
2242:
2240:
2236:
2224:
2220:
2213:
2210:
2206:
2205:Grammont 2009
2201:
2198:
2194:
2189:
2187:
2183:
2178:
2174:
2167:
2164:
2161:, p. 74.
2160:
2155:
2153:
2151:
2147:
2143:
2138:
2136:
2134:
2132:
2130:
2126:
2122:
2117:
2115:
2113:
2111:
2107:
2103:
2098:
2095:
2092:, p. 67.
2091:
2086:
2083:
2079:
2074:
2071:
2058:
2054:
2048:
2045:
2041:
2036:
2033:
2029:
2024:
2021:
2018:, p. 10.
2017:
2012:
2009:
2004:
2000:
1993:
1991:
1989:
1987:
1985:
1983:
1981:
1979:
1977:
1973:
1969:
1964:
1962:
1958:
1954:
1949:
1946:
1941:
1937:
1931:
1929:
1927:
1925:
1923:
1921:
1919:
1917:
1913:
1909:
1905:
1899:
1897:
1893:
1888:
1884:
1883:Revista Museu
1880:
1874:
1872:
1868:
1865:, p. 23.
1864:
1859:
1857:
1853:
1849:
1844:
1841:
1837:
1832:
1829:
1825:
1820:
1817:
1814:, p. 75.
1813:
1808:
1805:
1801:
1800:Chartier 2008
1796:
1794:
1792:
1788:
1784:
1779:
1777:
1775:
1773:
1771:
1769:
1767:
1765:
1763:
1761:
1759:
1755:
1743:
1739:
1738:"Aleijadinho"
1733:
1731:
1727:
1720:
1715:
1709:
1704:
1697:
1694:
1691:
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1555:
1554:
1553:
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1534:
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1528:
1524:
1520:
1519:Stênio Garcia
1516:
1512:
1508:
1500:
1498:
1496:
1492:
1486:
1484:
1480:
1476:
1472:
1468:
1463:
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1454:
1450:
1446:
1445:Roger Bastide
1442:
1437:
1433:
1429:
1420:
1413:
1411:
1407:
1405:
1401:
1397:
1393:
1387:
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1303:
1299:
1295:
1291:
1287:
1283:
1279:
1275:
1271:
1267:
1263:
1259:
1258:Old Testament
1255:
1254:Christian art
1250:
1243:
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1234:
1232:
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1224:
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1216:
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942:
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836:
834:
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823:
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803:
799:
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790:
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782:
777:
772:
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766:
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749:
745:
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732:
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719:
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562:
558:
548:
543:
539:
536:
533:
527:
520:
516:
512:
508:
504:
502:
498:
497:poliomyelitis
494:
490:
486:
482:
478:
474:
469:
467:
463:
457:
452:
446:
441:
435:
433:
428:
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384:
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366:
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343:
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335:
327:
325:
321:
316:
310:
305:
299:
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288:
286:
281:
275:
270:
262:
257:
250:
248:
246:
240:
233:
231:
229:
225:
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209:
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200:
196:
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190:
186:
182:
161:
153:
142:
133:
129:
124:
119:
115:
112:
108:
105:
101:
98:
94:
91:
87:
75:
71:
67:
63:
56:
43:
39:
32:
27:
20:
4761:1730s births
4723:
4695:
4682:
4663:
4650:
4631:
4608:
4584:
4563:
4542:
4532:
4512:
4491:
4470:
4442:
4439:Química Nova
4438:
4414:
4404:
4384:
4364:
4350:
4329:
4317:. Retrieved
4310:the original
4305:
4278:
4268:
4248:
4228:
4205:
4181:
4160:
4150:
4130:
4097:(2): 83–94.
4094:
4090:
4066:
4045:
4024:
4003:
3982:
3961:
3947:
3926:
3905:
3884:
3873:
3852:
3831:
3810:
3786:
3775:
3754:
3742:the original
3737:
3733:
3706:
3685:
3673:the original
3668:
3652:
3643:
3619:
3611:Bibliography
3593:
3585:the original
3575:
3561:
3553:the original
3543:
3532:. Retrieved
3528:the original
3518:
3506:
3498:the original
3488:
3480:the original
3470:
3458:
3446:
3434:
3427:Beltrão 2001
3422:
3415:Vivanco 2005
3410:
3398:
3391:Peixoto 2000
3386:
3357:
3315:
3303:
3291:
3279:
3267:
3255:
3243:
3236:Manguel 2003
3231:
3168:
3156:
3129:
3117:
3088:
3076:
3064:
3057:Miranda 2001
3052:
3040:
3033:Miranda 2001
3028:
3013:
3001:
2989:
2938:
2923:
2915:the original
2905:
2897:the original
2887:
2873:
2865:the original
2855:
2847:the original
2837:
2829:the original
2824:
2815:
2806:
2796:
2788:the original
2768:Brandão 2009
2748:
2736:
2724:
2712:
2704:the original
2699:
2690:
2678:
2666:
2654:
2642:
2615:
2603:
2596:Brandão 2009
2591:
2579:
2567:
2555:
2543:
2501:
2489:
2473:
2467:
2451:
2445:
2437:
2429:
2417:
2390:
2378:
2366:
2354:
2347:Fuentes 1999
2280:
2272:
2263:
2253:
2246:Nóbrega 1997
2226:. Retrieved
2222:
2212:
2200:
2176:
2166:
2097:
2090:Peixoto 2000
2085:
2073:
2061:. Retrieved
2056:
2047:
2035:
2030:, p. 4.
2028:Andrade 1943
2023:
2016:Renault 1973
2011:
2003:the original
1955:, p. 9.
1948:
1940:the original
1907:
1887:the original
1882:
1848:Martins 1939
1843:
1831:
1819:
1807:
1745:. Retrieved
1741:
1707:
1649:
1551:
1546:
1514:
1510:
1509:in the film
1504:
1487:
1482:
1478:
1470:
1458:
1436:Afonso Celso
1425:
1408:
1388:
1380:
1356:
1352:
1343:
1334:
1332:
1328:
1310:
1246:
1241:
1222:
1218:
1215:Flagellation
1214:
1206:
1202:
1198:
1194:
1192:
1176:
1174:, Portugal.
1163:
1147:
1143:
1141:
1136:
1132:
1128:
1124:
1122:
1116:
1112:
1088:
1072:
1068:
1060:
1049:Architecture
1038:
1035:
1031:
1007:
973:
970:
966:
961:
957:
948:
946:
940:
895:
892:of Congonhas
889:
885:
862:
858:
842:
838:
826:
818:
812:
804:of Congonhas
801:
797:
773:
761:
757:
740:
705:carving work
701:
697:
689:
673:
669:
660:
646:of Congonhas
643:
639:
583:
571:
553:
541:
537:
528:
524:
518:
510:
470:
451:John Luccock
436:
431:
429:
425:
421:
417:
401:
399:
386:
381:
361:
331:
289:
266:
244:
241:
237:
204:Minas Gerais
201:
197:
151:
140:
139:
97:architecture
78:(1814-11-18)
62:Minas Gerais
4766:1814 deaths
4720:Aleijadinho
3362:Coelho 2005
3260:Ferraz 2006
3248:Dreher 1999
3161:Coelho 2005
3093:Coelho 2005
2753:Coelho 2005
2729:Coelho 2005
2717:Coelho 2005
2410:Araújo 1998
2228:13 December
2142:Hansen 2009
2063:12 December
2040:Dreher 1999
1747:11 December
1517:(2003) and
1453:Lúcio Costa
1396:Virgin Mary
1211:Saint Peter
1199:Holy Supper
1164:Sacro Monte
1160:crucifixion
1156:Last Supper
1148:Sacro Monte
1079: [
1022: [
911:Cleft chin;
865:popular art
853:Lezama Lima
779: [
680:Renaissance
568:Iconography
532:Romanticism
454: [
443: [
432:Aleijadinho
353: [
318: [
307: [
296: [
272: [
251:Early years
152:Aleijadinho
23:Aleijadinho
4735:Categories
4673:9042016280
4666:. Rodopi.
4319:2023-01-29
3993:0395924995
3534:2023-01-29
3511:Gomes 2005
3308:Silva 2001
3296:Frade 2007
3272:Silva 2001
3224:Silva 2001
3122:Frade 2007
2982:Frade 2007
2671:Bowen 2008
2506:Bowen 2008
2494:Baeta 2001
2383:Costa 2002
2359:Costa 2002
2330:Hogan 1974
2315:Mills 2002
2298:Silva 2001
2193:Lópes 2001
2078:Onuki 2002
1968:Mills 2002
1863:Moura 2004
1824:Silva 2001
1812:Lópes 2001
1716:References
1690:Saint Lucy
1672:Saint John
1491:Vargas Era
1129:Via Crucis
985:Main works
796:Detail of
752:Tiradentes
744:Diamantina
726:Gold cycle
676:Classicism
477:rheumatism
389:Praxiteles
208:Ouro Preto
47:1738-08-29
4121:253150662
3463:Crow 1992
3439:Lima 2004
3188:Bosi 2001
3149:Wood 2008
3110:Bell 2008
2647:Bury 2006
2635:Lima 1981
2560:Colangelo
2264:19&20
1783:Bury 2006
1721:Citations
1580:Rio Pomba
1195:Via Sacra
1144:Via Sacra
1137:Via Sacra
1125:Via Sacra
1094:Sculpture
974:Via Sacra
890:Via Sacra
802:Via Sacra
800:, in the
693:metropole
644:Via Sacra
642:, in the
501:porphyria
440:John Bury
402:Via Sacra
387:"The new
342:soapstone
280:godparent
234:Biography
220:Congonhas
121:Signature
93:Sculpting
55:Vila Rica
4461:85303591
2932:. IstoÉ.
2478:Archived
2456:Archived
1523:TV Globo
1432:Pedro II
1404:stigmata
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1306:Habakkuk
1266:Jeremiah
1217:and the
1011:pediment
714:Madonnas
595:Belmonte
591:governor
485:syphilis
328:Maturity
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4206:Barroco
4113:2502724
3644:A Manhã
1578:1771 —
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1369:Reliefs
1294:Obadiah
1270:Ezekiel
1227:Calvary
1158:to his
1043:volutes
1039:rocalha
1017:of the
908:thirds;
849:Fuentes
822:coffers
748:Mariana
678:of the
574:ex-voto
473:leprosy
346:mulatto
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1384:John V
1363:UNESCO
1278:Baruch
1274:Daniel
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1242:Daniel
1207:Prison
829:Gothic
622:, and
519:Kósmos
489:scurvy
338:Lisbon
212:Sabará
193:Rococo
185:Brazil
111:Rococo
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4457:S2CID
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4117:S2CID
4109:JSTOR
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