{"id":12897,"date":"2023-02-24T18:31:02","date_gmt":"2023-02-24T18:31:02","guid":{"rendered":"https:\/\/whitesharkinvestments.com\/?post_type=work&p=12897"},"modified":"2023-02-24T18:49:41","modified_gmt":"2023-02-24T18:49:41","slug":"retabulo-de-diogo-de-contreiras","status":"publish","type":"work","link":"https:\/\/whitesharkinvestments.com\/en\/port-wsi\/retabulo-de-diogo-de-contreiras\/","title":{"rendered":"ALTARPIECE BY DIOGO DE CONTREIRAS"},"content":{"rendered":"
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Porto da Luz Chapel Altarpiece<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Description<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Last Work of Diogo de Contreiras<\/strong><\/p><\/div>

The work attributed to Diogo Contreiras, little known outside the cycle of art historians, was probably executed around 1555 by order of the canon Francisco Dias, who is portrayed in it. It consists of a retable with a central niche where an image of the Virgin should be placed and two oil paintings on wood (107x60cm). On the right there are four martyred saints (Luzia, Eulalia, Barbara, and Apollonia) and on the left, besides the canon kneeling, there are St. Paul the Apostle, with his sword; St. Mar\u00e7al, with a church on fire; St. Anthony wearing the Franciscan habit; and St. Vincent, with the palm of his martyrdom and the traditional boat.\n\n\"In this work of art it is not only the paintings that make it special, we would say that, in fact, it is the whole (...) It is extraordinary that the paintings are still integrated in their original altarpiece which, despite the state of conservation and repaints, is one of the only ones dating from the middle of the 16th century that are still preserved in our country.\" \n\nAn\u00edsio Franco - Art Historian\n\nIt was the art historian Joaquim Caetano who, in the 1990s, attributed the altarpiece to this painter active between 1521 and 1560 and author of other important works of Portuguese art of the 16th century, such as the altarpieces of the Colegiada de Our\u00e9m, the Church of Santa Catarina, in Caldas da Rainha, and the Monastery of S. Bento de C\u00e1stris in \u00c9vora.<\/p>

“Nesta obra de arte na\u0303o sa\u0303o apenas as pinturas que a tornam especial, diri\u0301amos que, na verdade, e\u0301 todo o conjunto (…) E\u0301 extraordina\u0301rio as pinturas ainda se encontrarem integradas no seu reta\u0301bulo de origem que, mau grado o estado de conservac\u0327a\u0303o e repintes, e\u0301 dos u\u0301nicos data\u0301veis de meados do se\u0301culo XVI que ainda se conservam no nosso pai\u0301s.”<\/em>

Ani\u0301sio Franco – Historiador de Arte<\/p><\/div>

Foi o historiador de arte Joaquim Caetano quem, na de\u0301cada de 90, atribuiu o reta\u0301bulo a este pintor activo entre 1521 e 1560 e autor de outras importantes obras da arte portuguesa do se\u0301culo XVI, como os reta\u0301bulos da Colegiada de Oure\u0301m, da Igreja de Santa Catarina, nas Caldas da Rainha, e do Mosteiro de S. Bento de Ca\u0301stris, em E\u0301vora.<\/p><\/div><\/div><\/div><\/div>

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Details<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Type<\/strong>
Religious Art<\/p>

Year
<\/b>1555<\/p>

Dimensions<\/strong>
Altarpiece: 324x25x254 cm\u00a0 Panels: 107\u00d760 cm (each)<\/p>

Condition<\/strong>
Restored<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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