Artbid - Auction 1243 / Lot 6

Artbid - Auction 1243 / Lot 6

MANUEL PEREIRA DA SILVA (1920-2003)

Untitled

Graphite on Cardboard

Signed and dated 1956

61 x 43 cm.

Artbid - Auction 1335 / Lot 8

Artbid - Auction 1335 / Lot 8

MANUEL PEREIRA DA SILVA (1920-2003)

Figures

Mixed media on paper, glued on cardboard

Signed and dated 1955 

41 x 32 cm.

Crucifixion

Andrea Mantegna

Crucifixion

1459

67 cm × 93 cm

Louvre, Paris

Andrea Mantegna (1431-1506) was a Renaissance painter.

Their characters are very dramatic and realistic about the idealization of bodies, they are skeletal bodies that show suffering.

Diego Velazquez

Crucified Christ

1631

Oil on canvas

248 cm x 169 cm

Prado Museum, Madrid

Diego Rodriguez Silva and Velazquez (1599-1660) was a Spanish painter and chief court artist of King Philip IV of Spain. He was an individualist artist of the contemporary Baroque period, important as a portraitist.

Crucified Christ is a 1632 painting by Diego Velazquez depicting the crucifixion of Jesus. Apollonian perfection of the crucifixion, of an almost divine and perfect beauty, according to the belief that Christ was the most beautiful of all men.

The baroque light-dark technique that contrasts the total darkness of the background with the light that bathes the body of Christ.

Paul Gauguin

Yellow Christ

1989

Oil on canvas

91 cm x 73 cm

Albright-Knox Art Gallery

Eugène-Henri-Paul Gauguin (1848-1903) was a French painter of post-impressionism. He was a restless and curious man, spent his whole life searching for the truth. Who we are? Where are we going? And to represent in their pictures religious things like this. Gauguin left Paris to move away from materialism, went to Bretagne for spirituality.

His religious pictures are searching for the truth behind everything.

Yellow Christ is considered one of the main works of Symbolism in painting.

Salvador Dali

The crucifix

Oil on canvas

205 x 116 cm

Kelvingrove Museum and Art Gallery in Glasgow

Salvador Dalí i Domènech (1904-1989) was an important Spanish painter, known for his surrealist work.

Mystical stage in which the artist often represented religious things inspired by Spanish Baroque. The Crucifix appears suspended, as if floating through Cadaqués. Spain, where the painter had his home.

Manuel Pereira da Silva

Crucifixion

Cardboard ballpoint

1978

50 cm x 65 cm

Manuel Pereira da Silva had several orders from the Church in which he represented scenes from the Passion of Christ, the Via Sacra, the Ascension of Christ (Santa Luzia Sanctuary, Viana do Castelo), Our Lady of Areosa (Areosa Church, Porto), beyond countless busts and monuments of church members.

But it was in his studio that he most designed the Crucifixion, especially the paper ballpoint pen, despite being an atheist.

Manuel Pereira da Silva

Crucifixion

Cardboard ballpoint

1978

50 cm x 65 cm

Manuel Pereira da Silva

Crucifixion

Cardboard ballpoint

1978

40 cm x 60 cm

Manuel Pereira da Silva

Crucifixion

Cardboard ballpoint

1978

50 cm x 65 cm

Manuel Pereira da Silva

Crucifixion

Cardboard ballpoint

1979

50 cm x 65 cm

Manuel Pereira da Silva

Crucifixion

Cardboard ballpoint

1989

27 cm x 50 cm

Manuel Pereira da Silva

Crucifixion

Cardboard ballpoint

1989

20 cm x 29 cm

Artbid - Auction 1374 / Lot 12

Artbid - Auction 1374 / Lot 12

MANUEL PEREIRA DA SILVA (1920-2003)

Untitled

Cardboard ballpoint

Signed and dated 1979

50 x 50 cm.

Artbid - Auction 1370 / Lot 21

Artbid - Auction 1370 / Lot 21

MANUEL PEREIRA DA SILVA (1920-2003)

Untitled

Graphite on Cardboard

Signed and dated 1958

65 x 50 cm.

Artbid - Auction 1365 / Lot 29

Artbid - Auction 1365 / Lot 29

MANUEL PEREIRA DA SILVA (1920-2003)

Untitled

Mixed Media on Cardboard

Signed and dated 1978

65 x 50 cm.

Artbid - Auction 1360 / Lot 23

Artbid - Auction 1360 / Lot 23

MANUEL PEREIRA DA SILVA (1920-2003) (2)

Untitled

Mixed Media on Paper and Pen on Paper

Signed and dated 1990

30 x 21 cm. (each)

Sanctuary of Saint Luzia and the Sacred Heart of Jesus

Temple located in a privileged area, either by the view that can be seen of the surrounding area, or by the sacred character of the place, occupied since Prehistory, by a castreja civilization and where, since the Middle Ages, a chapel with worship remained.

The Monument Temple glorifies the name of Santa Luzia, advocate of the sight that the Cavalry Captain Luís de Andrade e Sousa resorts to, in the extinct chapel of Santa Luzia, suffering from a severe ophthalmia. Already convalesced, establishes the Brotherhood of Santa Luzia, as a way to gratify the grace received.

However, it is the Sacred Heart of Jesus, the patron saint of the monument, whose devotion to the Viannese people had been around since 1743. But it was during the Pneumonic pandemic that the year was 1818 that the city, weeping for its loved ones who had perished, and terrified by the violence of such a scourge, she consecrated herself to the Sacred Heart of Jesus, promising to climb the pilgrimage to Mount Santa Luzia every year if the pneumonics claimed no more life. When the death was over, the Vianenses lived up to their promise and headed up the hill where, since 1904, the temple was built. This promise is still fulfilled today, on the Sunday closest to the liturgical feast of the Sacred Heart of Jesus.

Imbued in this spirit, pilgrimages have been made, albeit without calendar, since the previous century. It was precisely during one of these pious ravings, on the occasion of the 1894 Festivities d'Agonia, that Father Dias Silvares launched the idea of ​​erecting on the mount a statue of the Sacred Heart of Jesus, which blessed the city of Viana do Castelo, the Minho and the whole nation. This proposal was soon enthusiastically accepted, and at the same time indicated and admitted the name of the Minho sculptor Aleixo Queiroz Ribeiro to execute the work.

From there to the Monument Temple was just a step. After executing the monumental and artistic column that would support the statue, it was found that it could not withstand its strongly forward-leaning position. Then the statue was placed on a pedestal in front of the so-called Santa Luzia chapel, which was not demolished until 1926. Taking advantage of the majestic column, Miguel Ventura Terra, one of the greatest architects of his time, devised an equal column to implant them in front of. temple to build and support two angels. Between these two columns, Ventura Terra traced the design of a magnificent temple, whose beauty and magnificence is only matched by the landscape in which it operates.

The construction work began in 1904, having developed animatedly until the proclamation of the Republic, date from which they faded as a result of the troubled political and social context, and further slowed down during World War I. However, the architect Miguel Nogueira, who had been apprenticed to Ventura Terra, took over the works in 1925, being in charge of completing his Master's project due to his passing. The following year the main chapel of the temple was completed, having been opened for worship by the Archbishop and Lord of Braga and Primate of the Spas. The exterior works of the temple were completed at the end of 1943, and the interior works in 1959. The result is an imposing chiseled granitic soft and executed by the masters of the region led by Emídio Pereira Lima.

Architecturally, it bears similarities to the Sanctuary of Sacré Cœur of Paris. The building features a Greek cross-centered floor plan of Byzantine root. From the same matrix you will find the huge dome that crowns the building, as well as the small domes that head the four towers, these already inspired by the Romanesque style, as well as the decoration that meanders through the facade of the building. Gothic in taste are the huge rosettes, the largest in the Iberian Peninsula, framing the beautiful stained glass windows that flood the interior of the church with light and color. Inside, two angels, by Leopoldo de Almeida, offer the shields of Portugal and Viana do Castelo to the Sacred Heart of Jesus, a replica of the bronze statue of the entrance, carved in marble from Vila Viçosa by Martinho de Brito. The popular attention and devotion of the vianenses is directed to the image of the Sacred Heart of Jesus that came from the Crosier Convent, and to the image of Saint Luzia who, along with that of the Lady of the Abbey, came from the chapel that preceded the temple. And since we speak of images, that of Our Lady of Fatima deserves special attention from the believing people, both Lusitanian and Galician.

The main altar in granite and marble, and the side altars, dedicated to Santa Luzia and the Lady of the Abbey, were carved by the hand of Emídio Lima, as well as the pulpits of undulating lines, whose design is by Miguel Nogueira. The three rosettes were made by the Ricardo Leone Lisbon workshop.

The frescoes surrounding the apse of the chancel with a band of modernist murals, divided by narrow frieze, respectively represent part of the stations of the Way of the Cross: "Prison of Christ", "Judgment of Christ", "Christ meets women of Jerusalem "," Christ meets Mary "," Christ aided by Cyrenene "," Crucifixion "," Death of Christ "," Descent from the Cross "," Soldiers throw on the garments of Christ "; and framed, inferiorly and superiorly, by white strip, where Latin inscription runs. The semi-domed roof in the center is painted in shades of blue, creating the sky, representing the Ascension of Jesus. Surrounded by beams of light and cut by musician angels, reviving the bands of paleochristian mosaics, are authored by Manuel Pereira da Silva.

Finally, the silver tabernacle was carved by the Porto master goldsmith Filinto Elísio de Almeida.

Datasheet:

ARCHITECTS: João Guilherme Faria da Costa (1948); Julio de Brito (1962); Miguel Nogueira (1926-1954), Moreira da Silva (1959); Ventura Terra (1896). SONG: Emídio Pereira Lima (1928-1956). DESIGNER: José da Silva Dias (1886-1887). CONTRACTOR: Francisco Gonçalves Carvalhido (1889-1890). Sculptor: Albino Rodrigues Lima (1955); Aleixo Queirós Ribeiro (1895-1896); Gustavo Rocha (1962); Leopoldo de Almeida (1955); Manuel Couto Viana (1934), Martinho de Brito (1959). FOUNDER: Bell Foundry (1946); Manuel Francisco Cousinha (1952, 1971). OURIVES: Filinto de Almeida (1959). MASTERS: José Franco da Cunha (1904); Jose da Meira (1936); Jose Rodrigues de Oliveira Lima (1904). PAINTER: Manuel Pereira da Silva (1959). GLASS PAINTER: Ricardo Leone (1945-1947). WATCHMAN: Serafim da Silva Jerónimo & Filhos (1986).

Artbid - Auction 1356 / Lot 15

Artbid - Auction 1356 / Lot 15

MANUEL PEREIRA DA SILVA (1920-2003)

'Maternity'

Graphite on paper, glued on cardboard

Signed and dated 1955

42 x 30 cm.