The Center for the Conservation and Restoration of Cultural Assets (Cecor) of the School of Fine Arts of the Federal University of Minas Gerais (EBA/UFMG) attributed yet another sacred image to the sculptor, architect and carver Antonio Francisco Lisboa, Aleijadinho, renowned artist of the Brazilian Baroque. The head of São Francisco Penitente – a saint to wear, a sacred representation that was used in processions – was returned to the Parish of São Caetano, in Cipotânea, in the interior of Minas Gerais, in April. “We have no doubts about this attribution”, Alessandra Rosado, professor of the Department of Visual Arts at EBA/UFRJ and current director of Cecor, confirmed to Agência Brasil. She clarified, however, that Cecor does not issue certificates of authenticity, but confirms the authorship of the pieces based on multiple examinations carried out by the agency’s team. Produced in polychrome wood, the image of São Francisco Penitente was sent to the center for restoration and conservation, in 2016, along with 23 other works, within the Extramuros Project, financed by the Public Ministry of Minas Gerais (MPMG). The project was made possible through an agreement entered into between the MPMG, the State Institute of Historical and Artistic Heritage of Minas Gerais (Iepha-MG), UFMG and the Research Development Foundation (Fundep), with the transfer of funds from compensatory measure obtained with the execution of the Term of Adjustment of Conduct with mining enterprise. All the works have already been returned to their parishes as by unknown authors, but only that of San Francisco Penitente has been recognized. The image is 1.27 meters tall and weighs approximately 16 kilos (kg). The first image whose authorship was confirmed by Cecor as being by Aleijadinho was that of Nossa Senhora da Piedade, from the mining town of Felixlandia, more than ten years ago. The one of São Francisco Penitente is the second that had the image confirmed as being of Aleijadinho. Studies Alessandra Rosado explained that, as it is an image to wear, it is made up of several blocks and, therefore, does not have an artistically sculpted structure. The studies referring to the attribution to Aleijadinho were carried out on the head of the sculpture. “Because the hands and feet are not Aleijadinho’s”. To prove the attribution to the Baroque sculptor, an interdisciplinary study was carried out, involving professionals in the field of history, conservators and restorers and conservation scientists. All the document analyzes found about the piece, history, context of the work and period in which it was performed, in addition to Aleijadinho’s action in the region, confirmed the authorship. The elements were aligned to physical-chemical analyses, wood identification, radiographs. “These radiographs are important because, as it is an image that was being repainted, it made it difficult to confirm its authorship”. A more accurate analysis of the artist’s styles was then carried out, which are details or marks of the sculptor such as, for example, the way he makes the locks of hair, the lacrimal of the eyes, the nasolabial fold, the shape of the chin. , the beard, the ears. “These are styles that, in the case of Aleijadinho, are well known, but the repainting made it difficult to read”. The painting was removed, but a repolychromy remained. That is, as the original carnation was lost over time and, in a very old period, a new carnation, or repolychromy, was made, informed the director of Cecor. On top of the carnation, there were other repaintings that were removed. The radiographs made it possible to visualize more details for comparison purposes with other works by Aleijadinho. There were also analyzes of the paints used, if they were compatible with the analyzed period, the way to use them. “All of this is worked on jointly with all team members. This facilitates a better understanding of the work and, also, the conclusion that it is a work by Aleijadinho.” Devotional function The teacher pointed out that the image of Saint Francis Penitent is interesting, because 40 years ago it had ceased to fulfill its devotional function and was kept in the matrix. It was Marcos Paulo Miranda, who is a Minas Gerais attorney and a researcher for Aleijadinho, who saw the image and thought it might be a sculpture by Aleijadinho. He included the work for restoration along with the others. Cecor’s document concludes that the image was produced by Aleijadinho between 1790 and 1792, in the region of Rio Espera, located 13 kilometers away from Cipotânea. According to Alessandra, the return took a while because the piece entered the Extramuros Project as a work without authorship and, with all the studies, Aleijadinho’s authorship was verified. The Public Ministry of Minas Gerais (MPMG), in partnership with the State Institute of Historic and Artistic Heritage of Minas Gerais (IEPHA-MG) and the National Institute of Historic and Artistic Heritage (Iphan) thought it best to wait until there was greater security for the return of the work to the headquarters. The teacher recalled that studies were paralyzed for two years of the covid-19 pandemic. Then, negotiations were resumed for the evaluation of the work and some adaptations of the church space where the image returned. Rumors that some of the images of the Parish of São Caetano could be the authorship of Aleijadinho emerged at the beginning of the district of São Caetano do Xopotó, elevated to the category of parish in 1857, and that would receive the name of Cipotânea in 1938. Iphan In note sent to Agência Brasil, Iphan recognized that the Center for Conservation and Restoration of Cultural Assets (Cecor) of the School of Fine Arts of the Federal University of Minas Gerais (UFMG) carried out a “rigorous technical-scientific and interdisciplinary work to identify the authorship of the face of the image as being of Antônio Francisco Lisboa, Aleijadinho”. According to Iphan, the work required a complete study of the materiality of the sculpture, ranging from an iconographic analysis and the formal characteristics of the piece to physical-chemical analyses, X-rays, botanical analysis of the wood, in addition to important historical research on the presence of Aleijadinho in the region of Cipotânea or Rio Espera. “Thus, IPHAN understands that the attribution of authorship of cultural assets produced in remote periods, especially before the 19th century, is a complex task and requires a thorough study and the application of various techniques and methods and, therefore, it is not up to the autarchy, at this time, confirm or refute the authorship of the work, recognized by Cecor, and rather reinforce its support and partnership in carrying out the works.”
Agência Brasil
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