Publication: Robert C. Smith e o problema da autoria no estudo do rococó minhoto
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Sampaio Lopes, Raúl C.
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Ediciones Universidad Autónoma de Chile / Enredars-Universidad Pablo de Olavide
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Abstract
As monografias de artistas, como aquelas sobre frei José Vilaça (1972) e André Soares (1973), têm um papel importante na obra de Robert C. Smith, promovendo um certo vedetariado. Mas visões mais globalizantes explicam melhor a arte minhota de Setecentos em geral e, mais particularmente, a destes dois artistas, perfeitamente inseridos num meio que os favoreceu. Aliás Smith aplicou a noção de autor ao domínio da talha, onde o trabalho colectivo predomina, sem nunca a questionar, e precisamente quando se descobria que, na literatura ou na pintura, esta tinha sido uma construção histórica de difícil aplicação às obras anteriores ao romantismo. Propõe-se portanto identificar o regime de autoria que existiu historicamente no meio minhoto, ultrapassando a narrativa formal de Smith e tomando em conta a dinámica socio-cultural da criação artística do período, corrigindo algumas atribuições e alargando o elenco dos artistas que participaram no floresci- mento da arte minhota.
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Description
Monographs on a single artist, as the ones on Frei José Vilaça (1972) or André Soares (1973), have an important place in Robert C. Smith’s work, promoting a kind of stardom. However, more global views better explain 18th century art in the province of Minho (Northwest of Portugal), and this is true also for the art of these two artists, perfectly inserted in a milieu who favored them. Indeed, Smith applied a notion of authorship to such a collaborative art as woodcarving without questioning it and precisely when this notion started to be considered an historical construct in the fields of literature and painting, and unsuitable without caution for art before romantism. Therefore, it is necessary to describe what kind of authorship was historically practiced in 18th century Minho, overcoming the formal narrative developed by Smith, and integrating the socio-cultural dynamics at work. It is then possible to correct some attributions and to enlarge the list of the artists who participed in the flowering of Minho’s art.