Description:

Atribuível a DOMINGOS SEQUEIRA, Domingos António de Sequeira (1768-1837)
Retrato de S.M. El Rei Dom João VI
Óleo sobre madeira
Não assinado
Dim. aprox.: 20 x 13 cm.

Emoldurado. Moldura em madeira ornada por rica montagem em prata do séc. XVIII, em estilo rocaille, decorada com concheados, enrolamentos vegetalistas e entablamentos arquitectónicos, cinzelados e repuxados. Verso com argola para suspender. Sem marcas, ao abrigo do Decreto-Lei 120/2017, de 15 de Setembro - art. 2º, nº 2, alínea c). Dim. aprox. moldura: 43 x 31 cm.

S.M. El Rei Dom João VI é retratado com casaca azul e dragonas douradas ao ombro. Ao peito é possível identificar o Tosão de Ouro, a Placa de Grã-Cruz da Ordem de Carlos III, a Placa da Ordem de Nossa Senhora da Conceição de Vila Viçosa, e respectivas faixas. Segura na mão esquerda uma bengala.


    Literature:
  • Grande pintor dos sécs. XVIII e XIX (1768-1837), de seu nome verdadeiro Domingos António do Espírito Santo, adoptou em cerca de 1785, o apelido do padrinho. Em 1781 matriculou-se na Aula Régia de Desenho e Figura e, terminado o curso, trabalhou sob orientação do seu mestre Joaquim Manuel da Rocha, em obras de decoração dirigidas por este último. Mais tarde, protegido pelo Marquês de Marialva, obteve pensão de D. Maria I e seguiu para Roma, onde chegou em 1788. Aí, depois de ter estudado composição com Della Picola e pintura com António Cavalluci, conheceu os seus primeiros êxitos, alcançando o 2º lugar, entre dezenas de talentos rivais, nas provas de aptidão para a Academia do Nu, no Capitólio. De regresso a Lisboa, pinta em 1796, por encomenda do inglês William Beckford, a composição "Baco e Ariana". Por motivos que se desconhecem, pensou em fazer vida eremítica no Buçaco e como tal, ingressou na Cartuxa de Lavadeiras, onde esteve até 1802. São desse período, os quadros religiosos: "A Conversão de S. Bruno", "São Bruno em oração" e "Comunhão de São Onofre". Em 1802 é nomeado pelo Príncipe Regente, futuro D. João VI, primeiro pintor de Câmara e Corte, encarregado de fazer pinturas decorativas para o Real Palácio da Ajuda. Cinco depois, Sequeira é designado director da Aula de Desenho da Academia de Comércio e Marinha do Porto. Em 1813 foi encarregado pelo Príncipe D. João, de fazer os esboços e dirigir a execução da monumental baixela destinada a ser oferecida ao Duque de Wellington, pelos altos serviços prestados por este a Portugal, durante as Guerras Peninsulares. Em 1823, após o movimento da Vila-Francada, que aboliu o regime vintista, segue para o exílio, na companhia de sua filha Maria Benedita, instalando-se em Paris, onde recebe os elogios de Stendhal, que a ele se refere entre os pintores "românticos", ao lado de Delacroix. De facto, Sequeira pode ser considerado o percursor do movimento romântico na arte portuguesa. A partir de 1826 e até 1832, já em Roma, executa um conjunto admirável de obras sacras, "Descida da Cruz", "Adoração dos Magos", "Ascensão do Senhor" e "Juízo final" (todos da colecção da Casa Palmela). Adoece em 1833, com uma série de ataques apoplécticos, que lhe diminuíram as suas faculdades, tendo falecido na cidade Eterna, em 1837. Artista fecundo, por vezes desigual como pintor, deixou quadros excelentes, esboços admiráveis e uma série de óptimos desenhos. Além de abridor de gravuras, foi também o iniciador de litografia em Portugal.

    TRONI (GIUSEPPE), GREAT THRON
    - ITALIAN PAINTER OF THE 18TH AND 19TH CENTURIES (1739-1810), born in Turin and died in Lisbon, disciple of his father Alessandro Troni. He was known as the «Big Throne» to distinguish himself from his disciple Bernardino Gagliardini de Voucar, the «Little Throne». In Rome, he painted oil and miniature portraits. In Naples, he won countless triumphs and portrayed the Royal Family. Back in Turin, he portrayed royal people and was appointed painter to Vítor Amadeu. Hired by D. Rodrigo de Sousa Coutinho, 1st Count of Linhares and our ambassador in Turin, he arrived in Lisbon in 1785. He made many portraits of the Portuguese Royal Family. In the «Portrait of D. Maria I», in full length, he copied the sovereign's head from the portrait executed by Hickey. The «Conceição» panel, for the main chapel of the Church of Bemposta, executed in 1793, depicts the Royal Family. He made numerous and excellent portraits in miniature and in oil in our country. He also produced magnificent oil and miniature copies by Raphael, Titian and other masters, some of which were recopied by Leonor Rouks.
    At the Soares dos Reis National Museum, in Porto, there is his «Self¬-portrait», very elegant and with good style. In 1808, he tried to return to Turin through Spain, where he was waging war with the French, so he had to retreat, returning to Lisbon, where he came to the end of his days.

    BIBLIOGRAPHY: Cirilo Volkmar Machado – «Collection of Memories»; Raczynski – «Dictionnaire Historico-Artistique du Portugal»; Luís Xavier da Costa – «The Fine Arts in Portugal during the 18th Century»; Júlio Brandão - «Portuguese Miniaturists»; «Portraits of Artists at the Soares dos Reis National Museum»; «Guide to Portugal».

    Vide Pamplona

    Great painter of the centuries. XVIII and XIX (1768-1837), his real name Domingos António do Espírito Santo, adopted in about 1785, the surname of the godfather. In 1781, he enrolled in the Aula Régia de Drawing and Figure and, after completing the course, he worked under the guidance of his master Joaquim Manuel da Rocha, in decoration works directed by the latter. Later, protected by the Marquis of Marialva, he obtained a pension from D. Maria I and went to Rome, where he arrived in 1788. There, after having studied composition with Della Picola and painting with António Cavalluci, he met his first successes, reaching the 2nd place, among dozens of rival talents, in the aptitude tests for Academia do Nu, in Capitólio. Back in Lisbon, in 1796, commissioned by the Englishman William Beckford, he paints the composition "Baco e Ariana". For unknown reasons, he thought of making a hermitage in Buçaco and as such, he joined the Cartuxa de Lavadeiras, where he stayed until 1802. The following religious paintings are from this period: "The Conversion of S. Bruno", "Saint Bruno in Prayer " and "Communion of Saint Onofre". In 1802, he was appointed by the Prince Regent, the future D. João VI, the first Chamber and Court painter, in charge of making decorative paintings for the Royal Palace of Ajuda. Five years later, Sequeira was appointed director of the Drawing Class at the Porto Academy of Commerce and Navy. In 1813 he was entrusted by Prince D. João with making the sketches and directing the execution of the monumental tableware destined to be offered to the Duke of Wellington, for the high services rendered by him to Portugal, during the Peninsular Wars. In 1823, after the Vila-Francada movement, which abolished the Vintista regime, he went into exile, in the company of his daughter Maria Benedita, settling in Paris, where he received praise from Stendhal, who referred to him among the "Romantic" painters, alongside Delacroix. In fact, Sequeira can be considered the forerunner of the Romantic movement in Portuguese art. From 1826 until 1832, already in Rome, he executed an admirable set of sacred works, "Descent from the Cross", "Adoration of the Magi", "Ascension of the Lord" and "Final Judgment" (all from the collection of Casa Palmela). . He fell ill in 1833, with a series of apoplectic attacks, which reduced his faculties, and he died in the Eternal City, in 1837. A fruitful artist, sometimes unequal as a painter, he left excellent pictures, admirable sketches and a series of excellent drawings. In addition to opening engravings, he was also the initiator of lithography in Portugal.
  • Condition:
  • Attributable to DOMINGOS SEQUEIRA, Domingos António de Sequeira (1768-1837)
    Portrait of His Majesty King Dom João VI
    Oil on wood
    Unsigned
    Dim. approx.: 20 x 13 cm.

    Framed. Wooden frame decorated with a rich silver mount from the 18th century. in rocaille style, decorated with shells, plant scrolls and architectural entablatures, chiseled and drawn. Back with loop for hanging. Unbranded, pursuant to Decree-Law 120/2017, of September 15 - art. 2, paragraph 2, letter c). Dec. approx. frame: 43 x 31 cm.

    SM King Dom João VI is portrayed with a blue coat and golden epaulettes on his shoulder. On the chest it is possible to identify the Golden Fleece, the Plaque of the Grand Cross of the Order of Carlos III, the Plaque of the Order of Nossa Senhora da Conceição de Vila Viçosa, and respective bands. He holds a cane in his left hand.


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