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Abstract(s)
Embora seja conhecido o nome, o corpus de trabalho, a disseminação e o interesse pela sua obra entre coleccionadores nacionais e estrangeiros, públicos e privados, os estudos sobre Rosa ‘Ramalha’ [ou Rosa ‘Ramalho’] (1888-1977) [RR], a barrista oriunda de S. Martinho de Galegos, Barcelos, não abundam. Destarte, apresentamos, nesta nótula de investigação, contributos novos para o estudo da sua biografia e obra, com especial incidência na iconografia musical. Conhecíamos já o figurado de iconografia minhota, povoado de gentes da terra laborando no seu quotidiano, incluindo pegureiros e pastoras; de cabeçudos de corpo inteiro ou pé de galo repetentes nas festividades locais; bandas de música; de cristos, alminhas e hagiografias variegadas e de devotos calcorreando procissões; de reis e cavaleiros; ou de criaturas híbridas e fantásticas que lhe saíam das mãos e da imaginação – disseminação que se deve, inicialmente, à acção do pintor António Quadros (1933-94) –, mas faltava elencar e compreender melhor o significado das dezenas de bonecos – ou bonicrecos (Villas-Bôas, 1951) – tangedores de rudes cordofones que apresentam similitude com toscas viola de mão. Partimos, assim, da análise de um retrato inédito pintado uma década antes de RR falecer, visto in situ, da autoria de um pintor local de nome Luís de Campos (1913-82), datado de 1967, e que integra, hoje, a colecção do Museu dos Biscainhos, a nossa fonte primária, e apoiamo-nos em fontes secundárias, como os bonecos de colecções públicas e privadas, fotografias, ou estudos para um melhor entendimento do objecto artístico. Centramos a metodologia, ou modus operandi, na dissecação de documentação de arquivo, no trabalho de campo e na análise iconográfica-iconológica dos bonecos moldados e do retrato pintado em apreço, bem como de fotografias que documen tam o seu metier. Esta investigação vem no seguimento lógico e natural dos estudos que temos vindo a dar à estampa sobre a pintura em Portugal, dos sécuLos XV ao XXI, com incidência nas imagens de música, de dança e do teatro, na mulher artista, na micro-história da arte e na cripto-história da arte. Que dados temos sobre o quoti diano de RR? O que nos revela este retrato inédito? Que elementos musicais estão
representados? Qual a relação desses elementos com a bonecreira? Vejamos melhor.
Abstract: Although the name, the corpus, the dissemination and interest in her work among national and international, public and private collectors are known, the studies about Rosa 'Ramalha' [or Rosa 'Ramalho'] (1888-1977) [RR], the artisan from S. Martinho de Galegos, Barcelos, are scarce. Therefore, we present, in this research section, new contributions to the study of his biography and work, with a special focus on musical iconography. We already knew the Minho iconography, popu lated by local people working in their daily lives, including shepherdesses; figures with big-headed that are common in local festivities; music bands; Christs and varied hagiographies and devotees in processions; kings and knights; or hybrid and fantastic creatures that came out of his hands and imagination – dissemina tion that was initially due to the action of the painter António Quadros (1933-94) –, but it was necessary to list and better understand the meaning of the dozens of dolls – or bonicrecos (Villas-Bôas, 1951) – players of rough chordophones similar with violas. We therefore start from the analysis of an unpublished portrait painted by a local painter named Luís de Campos (1913-82), dated 1967, and which today forms part of the collection of the Museu dos Biscainhos, our primary source, and we rely on secondary sources, such as dolls from public and private collections,photographs, or studies for a better understanding the artistic object. We focus the methodology, or modus operandi, on the dissection of archival documentation, on fieldwork and on the iconographic-iconological analysis of the molded dolls and the painted portrait in question, as well as photographs that document his metier. This investigation comes in the logical and natural follow-up of the studies that we have been giving to the press on painting in Portugal, from the 15th to the 21st centuries, focusing on images of music, dance and theater, on female artists, on micro-art history and crypto-history of art. What information we have about RR’s daily life? What does this unprecedented portrait reveal to us? What musical elements are represented? What is the relationship between these elements and the dollmaker? Let's take a closer look.
Abstract: Although the name, the corpus, the dissemination and interest in her work among national and international, public and private collectors are known, the studies about Rosa 'Ramalha' [or Rosa 'Ramalho'] (1888-1977) [RR], the artisan from S. Martinho de Galegos, Barcelos, are scarce. Therefore, we present, in this research section, new contributions to the study of his biography and work, with a special focus on musical iconography. We already knew the Minho iconography, popu lated by local people working in their daily lives, including shepherdesses; figures with big-headed that are common in local festivities; music bands; Christs and varied hagiographies and devotees in processions; kings and knights; or hybrid and fantastic creatures that came out of his hands and imagination – dissemina tion that was initially due to the action of the painter António Quadros (1933-94) –, but it was necessary to list and better understand the meaning of the dozens of dolls – or bonicrecos (Villas-Bôas, 1951) – players of rough chordophones similar with violas. We therefore start from the analysis of an unpublished portrait painted by a local painter named Luís de Campos (1913-82), dated 1967, and which today forms part of the collection of the Museu dos Biscainhos, our primary source, and we rely on secondary sources, such as dolls from public and private collections,photographs, or studies for a better understanding the artistic object. We focus the methodology, or modus operandi, on the dissection of archival documentation, on fieldwork and on the iconographic-iconological analysis of the molded dolls and the painted portrait in question, as well as photographs that document his metier. This investigation comes in the logical and natural follow-up of the studies that we have been giving to the press on painting in Portugal, from the 15th to the 21st centuries, focusing on images of music, dance and theater, on female artists, on micro-art history and crypto-history of art. What information we have about RR’s daily life? What does this unprecedented portrait reveal to us? What musical elements are represented? What is the relationship between these elements and the dollmaker? Let's take a closer look.
Description
Keywords
Rosa Ramalho (1888-1977) Figurado de Barcelos Retrato Luís de Campos (1913-82) Iconografia musical Figures from Barcelos Portrait Music iconography
Citation
DUARTE, S. (2024) - O retrato de Rosa ‘Ramalho’ (1888-1977). De S. Martinho de Galegos, Barcelos: a bonecreira de imagens de música. In RAPOSO, D. [et al.] - Research and teaching in design and music. Castelo Branco : IPCB. Vol. IV, p. 109-128. (Convergências Research Books Collection). DOI: 10.53681/2024.I03/11
Publisher
IPCB