In/Visibilities and Pseudo/Visibilities: the black woman’s portrait in the Bemposta chapel in Lisbon (1791-1792)
Giuseppe Trono’s painting in the Bemposta chapel, produced in 1791-1792, is the most representative artwork related to the social policies implemented by the Queen Mary I. This article focuses on the historical and artistic analyses to frame the political and religious context, and to clarify its m...
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2020-06-01
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doaj-39f962b6a88f490285e64c2a17a8383b2021-05-19T10:18:27ZengUniversidade do MinhoVista2184-12842020-06-01610.21814/vista.3055In/Visibilities and Pseudo/Visibilities: the black woman’s portrait in the Bemposta chapel in Lisbon (1791-1792)Giuseppina Raggi0Centre for Social Studies (CES), University of Coimbra, Portugal Giuseppe Trono’s painting in the Bemposta chapel, produced in 1791-1792, is the most representative artwork related to the social policies implemented by the Queen Mary I. This article focuses on the historical and artistic analyses to frame the political and religious context, and to clarify its misunderstood iconography. The cult of the Sacred Heart, instituted in 1779 by Pope Pius VI, is crucial to reframe the meaning of the painting. The new approach offers an original interpretation of the black woman who is represented in it. Her identity and biography are brought to the light. Her subjectivity is compared to the more known biographies of the enslaved black dwarfs, who lived at the Portuguese royal court, mainly the female dwarf Rosa of the Sacred Heart, portraited in Mascarada Nupcial by José Conrado Roza (1788). Her in/visibility is compared, also, to the ‘silence’ about the black presence in the painting The earthquake of 1755 by João Glama (2nd half of 18th century). https://revistavista.pt/index.php/vista/article/view/3055Giuseppe TronoBemposta chapelenslaved and free African womenQueen Mary IBlack subjectivities in 18th century Lisbon |
collection |
DOAJ |
language |
English |
format |
Article |
sources |
DOAJ |
author |
Giuseppina Raggi |
spellingShingle |
Giuseppina Raggi In/Visibilities and Pseudo/Visibilities: the black woman’s portrait in the Bemposta chapel in Lisbon (1791-1792) Vista Giuseppe Trono Bemposta chapel enslaved and free African women Queen Mary I Black subjectivities in 18th century Lisbon |
author_facet |
Giuseppina Raggi |
author_sort |
Giuseppina Raggi |
title |
In/Visibilities and Pseudo/Visibilities: the black woman’s portrait in the Bemposta chapel in Lisbon (1791-1792) |
title_short |
In/Visibilities and Pseudo/Visibilities: the black woman’s portrait in the Bemposta chapel in Lisbon (1791-1792) |
title_full |
In/Visibilities and Pseudo/Visibilities: the black woman’s portrait in the Bemposta chapel in Lisbon (1791-1792) |
title_fullStr |
In/Visibilities and Pseudo/Visibilities: the black woman’s portrait in the Bemposta chapel in Lisbon (1791-1792) |
title_full_unstemmed |
In/Visibilities and Pseudo/Visibilities: the black woman’s portrait in the Bemposta chapel in Lisbon (1791-1792) |
title_sort |
in/visibilities and pseudo/visibilities: the black woman’s portrait in the bemposta chapel in lisbon (1791-1792) |
publisher |
Universidade do Minho |
series |
Vista |
issn |
2184-1284 |
publishDate |
2020-06-01 |
description |
Giuseppe Trono’s painting in the Bemposta chapel, produced in 1791-1792, is the most representative artwork related to the social policies implemented by the Queen Mary I. This article focuses on the historical and artistic analyses to frame the political and religious context, and to clarify its misunderstood iconography. The cult of the Sacred Heart, instituted in 1779 by Pope Pius VI, is crucial to reframe the meaning of the painting. The new approach offers an original interpretation of the black woman who is represented in it. Her identity and biography are brought to the light. Her subjectivity is compared to the more known biographies of the enslaved black dwarfs, who lived at the Portuguese royal court, mainly the female dwarf Rosa of the Sacred Heart, portraited in Mascarada Nupcial by José Conrado Roza (1788). Her in/visibility is compared, also, to the ‘silence’ about the black presence in the painting The earthquake of 1755 by João Glama (2nd half of 18th century).
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topic |
Giuseppe Trono Bemposta chapel enslaved and free African women Queen Mary I Black subjectivities in 18th century Lisbon |
url |
https://revistavista.pt/index.php/vista/article/view/3055 |
work_keys_str_mv |
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