Treatises Used by Nude Painting Students at the School of Fine Arts of Lisbon in the ‘Turn of the Century’

Ana Mafalda Cardeira

doi:doi:10.11648/j.ijla.20170506.12

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Treatises Used by Nude Painting Students at the School of Fine Arts of Lisbon in the ‘Turn of the Century’

Ana Mafalda Cardeira

Published in International Journal of Literature and Arts (Volume 5, Issue 6)

Received: 9 November 2017 Accepted: 15 November 2017 Published: 1 December 2017

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Abstract

This paper research on the existing treatises on nude painting at the School of Fine Arts of Lisbon in the ‘turn of the century’. The collection of all bibliography is presented with a summary of its content and importance to the young painting students with the aim of understanding the treatises that these students used and can represent an influence on their academic production. The compilation was possible to be done with the help of the public national online archive of the Academy of Fine Arts and a publish from (at the time) Professor Varela de Aldemira (1895-1975). The methodology is based on an existing list of acquired publication by the Academy of Fine Arts and the testimony of this last mention Professor. It was noteworthy the importance of the works made by Édouard Charton, which the volumes being produced at this time were important to provide a view of the world. It was anticipated many books on anatomy and painting techniques, but the periodical acquisition of Gazette of Beaux-Arts, The Art Journal, The Fine Arts and The Fine Arts Quarterly Review, allowed ceaseless knowledge of what was being studied and produced internationally. Finally, there is scarce national production, which could be explained by the foreign circulation in Portugal and the special edition made by the Portuguese Professor and founder of the Academy of Fine Arts of Lisbon, Francisco de Assis Rodrigues, revealing that he cared for pedagogical issues. The author hopes that this paper encourages international researchers to fulfill and contribute to a more global understanding of European Painting Education History.

Published in	International Journal of Literature and Arts (Volume 5, Issue 6)
DOI	10.11648/j.ijla.20170506.12
Page(s)	83-88
Creative Commons	This is an Open Access article, distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution and reproduction in any medium or format, provided the original work is properly cited.
Copyright	Copyright © The Author(s), 2017. Published by Science Publishing Group

Keywords

Fine Arts, Lisbon, Portuguese Painting, Treatise, Turn of the Century

References

[1]	FARIA, Alberto (2008) A Coleção de Desenho Antigo da Faculdade de Belas-Artes de Lisboa (1830-1935): tradição, formação e gosto. Dissertação de Mestrado em Museologia e Museografia. Lisboa: Faculdade de Belas-artes da Universidade de Lisboa.
[2]	AA. VV. (2008) Figures du corps: Une leçon d'anatomie à l'école des Beaux-Arts. Paris: ENSBA – École des Beaux Arts de Paris.
[3]	CARDEIRA, Ana Mafalda (2014) Caracterização material e técnica das "Académias de Nu" de José Veloso Salgado, pertencentes à colecção da FBAUL. Lisboa: Faculdade de Belas Artes da Universidade de Lisboa, pp. 11-14.
[4]	CALADO, Margarida & FERRÃO, Hugo (2013) ‘Da Fundação à Faculdade de Belas Artes’, in A Universidade de Lisboa nos séculos XIX-XX. Lisboa: Universidade de Lisboa, pp. 1107-1151.
[5]	FRANÇA, José Augusto (1991) O Modernismo na Arte Portuguesa. Lisboa: Ministério da Educação. Instituto de Cultura e Língua Portuguesa.
[6]	PEVSNER, Nikolaus (1982) Las Academias de Arte – pasado y presente. Madrid: Catedra.
[7]	SEGRÉ, Monique (1993) L'Art comme institution. L'École des Beaux-Arts. XIXème – XXème siècles. Cachan: Éditions de l'ENS-Cachan.
[8]	MACDONALD, Stuart (2004) The History and Philosophy of Art Education, James Clarke & Co, Cambridge.
[9]	BOYD, Stephen (1994) Life Class: The Academic Male Nude 1820-1920. London: Millivres-Prowler Group Ltd.
[10]	ALDEMIRA, Varela de (1961) A Pintura na Teoria e na Prática. Lisboa: Sociedade Industrial de Tipografia, Limitada, p. 155.
[11]	ALDEMIRA, Varela de (1970) Estudos Complementares de Pintura. Lisboa: Livraria Portugal.
[12]	LISBOA, Maria Helena (2007) As Academias e Escolas de Belas Artes e o Ensino Artístico (1836-1910). Lisboa: Colibri, pp. 308-314.
[13]	ODOARDO, Fialetti, Tutte le parti del corpo hvmano diuiso in piu pezzi, Veneza, Justus Sadeler, 1818, original de 1608.
[14]	VASCONCELOS, Padre Ignacio da Piedade, Artefactos Symmetriacos e Geometricos, advertidos, e descobertos pela industriosa perfeição das Artes, Esculturaria, Architectonica, e da Pintura, Lisboa, Oficina de José António da Silva, 1733.
[15]	CALADO, Margarida (2012) ‘Desenhar o corpo - uma metodologia de ensino constante na arte ocidental’. In TAVARES, Cristina Azevedo (Ed.) Representações do corpo na ciência e na arte, Lisboa: Fim de Século, p. 119.
[16]	PIRES, Cândida Teresa Pais Ruivo (2001) «Artefactos Symmetriacos e Geometricos...» um Tratado de Artes Visuais do Século XVIII. Lisboa: Dissertação de Mestrado em Teorias da Arte, Faculdade de Belas-Artes da Universidade de Lisboa, pp. 150-159.
[17]	CALADO, Margarida (2012) ‘Desenhar o corpo - uma metodologia de ensino constante na arte ocidental’. In TAVARES, Cristina Azevedo (Ed.) Representações do corpo na ciência e na arte, Lisboa: Fim de Século, p. 119.
[18]	Original text: Aliás, para Inácio da Piedade Vasconcelos, na formação artística o importante mesmo era o estudo do nu, “porque [as figuras] que se fazem vestidas as roupas lhe servem de capa, para enconbrirem algumas anatomias, que muitas vezes se vem nos corpos das figuras feitas por aquellas, que ignorão a symmetria, que pertence à proporção de um corpo humano, e por isso dos corpos nus he, que especialmente aqui tratamos” - VASCONCELOS, Padre Ignacio da Piedade (1733) Artefactos Symmetriacos e Geometricos, advertidos, e descobertos pela industriosa perfeição das Artes, Esculturaria, Architectonica, e da Pintura, Lisboa, Oficina de José António da Silva, p. 47.
[19]	CASTRO, Machado de (1788) Discurso sobre as utilidades do desenho, Lisboa, António Rodrigues Galhardo.
[20]	DUFRESNOY, Charles-Alphonse (1801) A Arte da Pintura, Lisboa, Na typographia chalcographica, typoplastica, e litteraria do arco do cego, p. 14.
[21]	LAIRESSE, Gérard de (1801) Principios do Desenho tirados do grande livro dos pintores ou da arte da pintura de Gerardo Lairesse, Lisboa,, Na typographia chalcographica, typoplastica, e litteraria do arco do cego.
[22]	TABORDA, José da Cunha (1922) Regras da arte da pintura: com breves reflexões críticas sobre os caracteres distintivos de suas escolas, vidas e quadros de seus mais célebres professores, Imprensa da Universidade, Coimbra. Tradução da obra de Michael Ângelo Prunetti, Saggio Pictorico, publicado em 1786.
[23]	ROCHA, Joaquim Leonardo (1810) Medidas Geraes do Corpo Humano Arranjadas em Dialogo, e Methodo Facil Para Uso da Real Aula de Desenho, e Pintura da Ilha da Madeira em 1810, Lisboa, Na Officina de António Rodrigues Galhardo, Impressor do Conselho de Guerra.
[24]	PIMENTA, Joaquim Alberto Borges (2003) Desenho: Manuais do século XIX de autores portugueses. Dissertação de Mestrado em História da Arte em Portugal, Faculdade de Letras da Universidade do Porto, Vol. 1, pp. 20-23.
[25]	SALDANHA, José Mendes de (1814) Breve Tratado de Miniatura Obra Posthuma, Lisboa, Impressão Régia.
[26]	PIMENTA, Joaquim Alberto Borges (2003) Desenho: Manuais do século XIX de autores portugueses. Dissertação de Mestrado em História da Arte em Portugal, Faculdade de Letras da Universidade do Porto, Vol. 1, p. 26.
[27]	SILVA, Roberto Ferreira da, Elementos do Desenho, E Pintura. E RegrasGeraes de Perspectiva. Dedicados ao Senhor Rey D. João VI, Rio de Janeiro, Impressão Régia, Parte II, pp. 73-121.
[28]	PIMENTA, Joaquim Alberto Borges (2003) Desenho: Manuais do século XIX de autores portugueses. Dissertação de Mestrado em História da Arte em Portugal, Faculdade de Letras da Universidade do Porto, Vol. 1, p. 50.
[29]	SENDIM, Maurício José (1840) Tractado Elementar De Desenho E Pintura, Lisboa, Imprensa de C. A. da Silva Carvalho.
[30]	PIMENTA, Joaquim Alberto Borges (2003) Desenho: Manuais do século XIX de autores portugueses. Dissertação de Mestrado em História da Arte em Portugal, Faculdade de Letras da Universidade do Porto, Vol. 1, pp. 53-55.
[31]	AUDRAN, Gérard (1683) Les proportions du corps humain: mesurées sur les plus belles figures de l’Antiquité, Paris, D. Audran. Disponível em http://gallica.bnf.fr/ark:/12148/bpt6k57385q/f30.image.r=proportions+du+corps+humain.langFR [Consultado em 03-12-2015].
[32]	RODRIGUES, Francisco Assis (1836) Methodo das Proporções, e Anatomia do Corpo Humano, Dedicado á Mocidade Estudiosa, que se aplica ás Artes do Dezenho, Lisboa, A. S. Coelho & Compª.
[33]	Original text: No ‘Methodo das Proporções’, Francisco de Assis Rodrigues faz um resumo das proporções gerais do corpo humano, acompanhado de algumas noções de osteologia e miologia aplicadas ao Desenho. No fim do ‘Método’, o autor faz uma advertência dizendo que não basta saver os nomes dos ossos, músculos, tendões e memorixar as proporções do corpo humano, se este conhecimento não for acompanhado pelo estudo dos originais dos autores clássicos e sua aplicação ao estudo do modelo vivo - FARIA, Alberto (2012) ‘O estudo da anatomia na coleção de Desenho Antigo da FBAUL’. In TAVARES, Cristina Azevedo (Ed.) Representações do corpo na ciência e na arte, Lisboa: Fim de Século, p. 131.
[34]	RAFAEL, Joaquim (1840) Elementos de Desenho Colligidos e adoptados pela Academia das Bellas Artes de Lisboa para uso dos seus Discípulos, Lisboa, Academia das Belas-Artes de Lisboa.
[35]	PIMENTA, Joaquim Alberto Borges (2003) Desenho: Manuais do século XIX de autores portugueses. Dissertação de Mestrado em História da Arte em Portugal, Faculdade de Letras da Universidade do Porto, Vol. 1, pp. 40-48.
[36]	Online documentation related to ‘Registo de publicações’ (Publication record), Academia Nacional de Belas-Artes de Lisboa, 15f., reference code PT/ANBA/ANBA/H/001/00001, cota atual 1-C-SEC. 69. Available at http://digitarq.arquivos.pt/details?id=4612207 [03-12-2015].
[37]	CODELL, Julien F. (1990) ‘The “Fine Arts Quarterly Review” and Art politics in the 1860s’, in Victorian Periodicals Review, Vol. 23, No. 3, pp. 91-97. Available at http://www.jstor.org/stable/20082461 [03-12-2015].
[38]	BLANC, Charles (1861) Histoire des peintres de toutes les Ecoles, 14 Volumes. Available at https://archive.org/details/histoiredespeint01blanuoft [03-12-2015].
[39]	CLOQUET, Jules (1821) Anatomie de l’Homme, ou description et Figures lithographiées de toutes les parties du corps humain. Tomo I and II, Paris: L’imprimérie Litographique de C. Laysterie, Litographe du roi / L’imprimérie de Rignoux. Available at http://www.general-books.net/book.cfm?id=4605034 [03-12-2015].
[40]	FARIA, Alberto (2008) A Coleção de Desenho Antigo da Faculdade de Belas-Artes de Lisboa (1830-1935): tradição, formação e gosto. Dissertação de Mestrado em Museologia e Museografia. Lisboa: Faculdade de Belas-artes da Universidade de Lisboa, p. 117.
[41]	VITET, Louis (1864) Études dur l’histoire de l’art, Paris, M. Lévy frères, 4 Vols.
[42]	DELABORDE, Henri (1864) Etude sur les Beaux Arts em France et en Italie, 2 Vols. Available at https://archive.org/details/tudessurlesbea01delauoft [02-12-2015].
[43]	FAU, Jules (1865) Anatomie des formes extérieures du corps humain, à l’usage des peintres et des sculpteurs, Paris, Méquignon-Marvis. Available at http://gallica.bnf.fr/ark:/12148/bpt6k6209448p [02-12-2015].
[44]	RICHER, Paul (1889-1929) Nouvelle anatomie artistique du corps humain. Paris: Libraire Plon, 7 Vols.
[45]	MACEDO, Manuel de (1898) Manual de Pintura. Lisboa: Companhia Nacional Editora, N.° 206 da Bibliotheca do Povo e das Escolas.
[46]	PIMENTA, Joaquim Alberto Borges (2003) Desenho: Manuais do século XIX de autores portugueses. Porto: Faculdade de Letras da Universidade do Porto, Vol. 1, pp. 109-111.
[47]	Original text: [...] Manuel de Macedo adverte para a observação das formas geométricas que a luz e a sombra comportam nas suas diversas tonalidades. Parece-nos inovador e aproxima-nos da conjugação de pequenos planos de cor, utilizados por Paulo Cézanne (...) na definição de volumes e, que entre nós, pintores como Eduardo Viana (...) ou Abel Manta (...) também potenciaram nas suas obras - PIMENTA, Joaquim Alberto Borges (2003) Desenho: Manuais do século XIX de autores portugueses. Porto: Faculdade de Letras da Universidade do Porto, p. 117.
[48]	PIMENTA, Joaquim Alberto Borges (2003) Desenho: Manuais do século XIX de autores portugueses. Lisboa: Faculdade de Letras da Universidade do Porto. Dissertação de Mestrado em História da Arte em Portugal, Vol. 1, p. 137.
[49]	PILES, Roger de (1708) Cours de Peinture par Principes. Paris: Jacques Estienne.
[50]	LISBOA, Maria Helena (2007) As Academias e Escolas de Belas Artes e o Ensino Artístico (1836-1910). Lisboa: Colibri, pp. 313-314.
[51]	PALOMINO, Antonio (1795) Museu Pictorico y Escala Óptica. Teórica de la Pintura, en que se describe su origen, esencia, espécies y qualidades, con todos los demas acidentes que la enquecen é ilustran. Madrid: Imprenta de Sancha.
[52]	LISBOA, Maria Helena (2007) As Academias e Escolas de Belas Artes e o Ensino Artístico (1836-1910). Lisboa: Colibri, pp. 308-309.
[53]	SABATTINI, Giambattista (1814) Tavole anatomiche pergli pittori e gli sculptori. Bologna: tip. Dei Fratelli Masi e Comp.
[54]	VALENCIANNES, Pierre-Henri (1799) Élemens de Perspective Pratique, a l’usage des artistes, suivis de réflexions et conseils à un eleve dur la peinture et particulièrement sur le genre du paysage. Paris: N. D.
[55]	DECHAZELLE, Pierre Toussaint (1834) Études sur l’Histoire des Arts. Lyon: Cormon et Blanc. 2 Volumes.
[56]	SUTTER, Jean-David (1858) Philosophie des Beaux-Arts Appliquée a La Peinture. Paris: Jules Radieu.
[57]	ARSÉNNE, L. C. & Ferdinand Denis (1858) Nouveau Manuel Complet du Peintre et du Scupteur. Paris: Libreaire Encyclopédique de Roret.
[58]	LISBOA, Maria Helena (2007) As Academias e Escolas de Belas Artes e o Ensino Artístico (1836-1910). Lisboa: Colibri, p. 311.
[59]	LISBOA, Maria Helena (2007) As Academias e Escolas de Belas Artes e o Ensino Artístico (1836-1910). Lisboa: Colibri, p. 300.
[60]	LISBOA, Maria Helena (2007) As Academias e Escolas de Belas Artes e o Ensino Artístico (1836-1910). Lisboa: Colibri, p. 308.

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Ana Mafalda Cardeira. (2017). Treatises Used by Nude Painting Students at the School of Fine Arts of Lisbon in the ‘Turn of the Century’. International Journal of Literature and Arts, 5(6), 83-88. https://doi.org/10.11648/j.ijla.20170506.12

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Ana Mafalda Cardeira. Treatises Used by Nude Painting Students at the School of Fine Arts of Lisbon in the ‘Turn of the Century’. Int. J. Lit. Arts 2017, 5(6), 83-88. doi: 10.11648/j.ijla.20170506.12

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Ana Mafalda Cardeira. Treatises Used by Nude Painting Students at the School of Fine Arts of Lisbon in the ‘Turn of the Century’. Int J Lit Arts. 2017;5(6):83-88. doi: 10.11648/j.ijla.20170506.12

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@article{10.11648/j.ijla.20170506.12,
  author = {Ana Mafalda Cardeira},
  title = {Treatises Used by Nude Painting Students at the School of Fine Arts of Lisbon in the ‘Turn of the Century’},
  journal = {International Journal of Literature and Arts},
  volume = {5},
  number = {6},
  pages = {83-88},
  doi = {10.11648/j.ijla.20170506.12},
  url = {https://doi.org/10.11648/j.ijla.20170506.12},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.20170506.12},
  abstract = {This paper research on the existing treatises on nude painting at the School of Fine Arts of Lisbon in the ‘turn of the century’. The collection of all bibliography is presented with a summary of its content and importance to the young painting students with the aim of understanding the treatises that these students used and can represent an influence on their academic production. The compilation was possible to be done with the help of the public national online archive of the Academy of Fine Arts and a publish from (at the time) Professor Varela de Aldemira (1895-1975). The methodology is based on an existing list of acquired publication by the Academy of Fine Arts and the testimony of this last mention Professor. It was noteworthy the importance of the works made by Édouard Charton, which the volumes being produced at this time were important to provide a view of the world. It was anticipated many books on anatomy and painting techniques, but the periodical acquisition of Gazette of Beaux-Arts, The Art Journal, The Fine Arts and The Fine Arts Quarterly Review, allowed ceaseless knowledge of what was being studied and produced internationally. Finally, there is scarce national production, which could be explained by the foreign circulation in Portugal and the special edition made by the Portuguese Professor and founder of the Academy of Fine Arts of Lisbon, Francisco de Assis Rodrigues, revealing that he cared for pedagogical issues. The author hopes that this paper encourages international researchers to fulfill and contribute to a more global understanding of European Painting Education History.},
 year = {2017}
}

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TY  - JOUR
T1  - Treatises Used by Nude Painting Students at the School of Fine Arts of Lisbon in the ‘Turn of the Century’
AU  - Ana Mafalda Cardeira
Y1  - 2017/12/01
PY  - 2017
N1  - https://doi.org/10.11648/j.ijla.20170506.12
DO  - 10.11648/j.ijla.20170506.12
T2  - International Journal of Literature and Arts
JF  - International Journal of Literature and Arts
JO  - International Journal of Literature and Arts
SP  - 83
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PB  - Science Publishing Group
SN  - 2331-057X
UR  - https://doi.org/10.11648/j.ijla.20170506.12
AB  - This paper research on the existing treatises on nude painting at the School of Fine Arts of Lisbon in the ‘turn of the century’. The collection of all bibliography is presented with a summary of its content and importance to the young painting students with the aim of understanding the treatises that these students used and can represent an influence on their academic production. The compilation was possible to be done with the help of the public national online archive of the Academy of Fine Arts and a publish from (at the time) Professor Varela de Aldemira (1895-1975). The methodology is based on an existing list of acquired publication by the Academy of Fine Arts and the testimony of this last mention Professor. It was noteworthy the importance of the works made by Édouard Charton, which the volumes being produced at this time were important to provide a view of the world. It was anticipated many books on anatomy and painting techniques, but the periodical acquisition of Gazette of Beaux-Arts, The Art Journal, The Fine Arts and The Fine Arts Quarterly Review, allowed ceaseless knowledge of what was being studied and produced internationally. Finally, there is scarce national production, which could be explained by the foreign circulation in Portugal and the special edition made by the Portuguese Professor and founder of the Academy of Fine Arts of Lisbon, Francisco de Assis Rodrigues, revealing that he cared for pedagogical issues. The author hopes that this paper encourages international researchers to fulfill and contribute to a more global understanding of European Painting Education History.
VL  - 5
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Ana Mafalda Cardeira

Artistic Studies Research Centre, Faculdade of Fine Arts of the University of Lisbon, Lisbon, Portugal

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Ana Mafalda Cardeira. (2017). Treatises Used by Nude Painting Students at the School of Fine Arts of Lisbon in the ‘Turn of the Century’. International Journal of Literature and Arts, 5(6), 83-88. https://doi.org/10.11648/j.ijla.20170506.12

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Ana Mafalda Cardeira. Treatises Used by Nude Painting Students at the School of Fine Arts of Lisbon in the ‘Turn of the Century’. Int. J. Lit. Arts 2017, 5(6), 83-88. doi: 10.11648/j.ijla.20170506.12

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Ana Mafalda Cardeira. Treatises Used by Nude Painting Students at the School of Fine Arts of Lisbon in the ‘Turn of the Century’. Int J Lit Arts. 2017;5(6):83-88. doi: 10.11648/j.ijla.20170506.12

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@article{10.11648/j.ijla.20170506.12,
  author = {Ana Mafalda Cardeira},
  title = {Treatises Used by Nude Painting Students at the School of Fine Arts of Lisbon in the ‘Turn of the Century’},
  journal = {International Journal of Literature and Arts},
  volume = {5},
  number = {6},
  pages = {83-88},
  doi = {10.11648/j.ijla.20170506.12},
  url = {https://doi.org/10.11648/j.ijla.20170506.12},
  eprint = {https://article.sciencepublishinggroup.com/pdf/10.11648.j.ijla.20170506.12},
  abstract = {This paper research on the existing treatises on nude painting at the School of Fine Arts of Lisbon in the ‘turn of the century’. The collection of all bibliography is presented with a summary of its content and importance to the young painting students with the aim of understanding the treatises that these students used and can represent an influence on their academic production. The compilation was possible to be done with the help of the public national online archive of the Academy of Fine Arts and a publish from (at the time) Professor Varela de Aldemira (1895-1975). The methodology is based on an existing list of acquired publication by the Academy of Fine Arts and the testimony of this last mention Professor. It was noteworthy the importance of the works made by Édouard Charton, which the volumes being produced at this time were important to provide a view of the world. It was anticipated many books on anatomy and painting techniques, but the periodical acquisition of Gazette of Beaux-Arts, The Art Journal, The Fine Arts and The Fine Arts Quarterly Review, allowed ceaseless knowledge of what was being studied and produced internationally. Finally, there is scarce national production, which could be explained by the foreign circulation in Portugal and the special edition made by the Portuguese Professor and founder of the Academy of Fine Arts of Lisbon, Francisco de Assis Rodrigues, revealing that he cared for pedagogical issues. The author hopes that this paper encourages international researchers to fulfill and contribute to a more global understanding of European Painting Education History.},
 year = {2017}
}

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TY  - JOUR
T1  - Treatises Used by Nude Painting Students at the School of Fine Arts of Lisbon in the ‘Turn of the Century’
AU  - Ana Mafalda Cardeira
Y1  - 2017/12/01
PY  - 2017
N1  - https://doi.org/10.11648/j.ijla.20170506.12
DO  - 10.11648/j.ijla.20170506.12
T2  - International Journal of Literature and Arts
JF  - International Journal of Literature and Arts
JO  - International Journal of Literature and Arts
SP  - 83
EP  - 88
PB  - Science Publishing Group
SN  - 2331-057X
UR  - https://doi.org/10.11648/j.ijla.20170506.12
AB  - This paper research on the existing treatises on nude painting at the School of Fine Arts of Lisbon in the ‘turn of the century’. The collection of all bibliography is presented with a summary of its content and importance to the young painting students with the aim of understanding the treatises that these students used and can represent an influence on their academic production. The compilation was possible to be done with the help of the public national online archive of the Academy of Fine Arts and a publish from (at the time) Professor Varela de Aldemira (1895-1975). The methodology is based on an existing list of acquired publication by the Academy of Fine Arts and the testimony of this last mention Professor. It was noteworthy the importance of the works made by Édouard Charton, which the volumes being produced at this time were important to provide a view of the world. It was anticipated many books on anatomy and painting techniques, but the periodical acquisition of Gazette of Beaux-Arts, The Art Journal, The Fine Arts and The Fine Arts Quarterly Review, allowed ceaseless knowledge of what was being studied and produced internationally. Finally, there is scarce national production, which could be explained by the foreign circulation in Portugal and the special edition made by the Portuguese Professor and founder of the Academy of Fine Arts of Lisbon, Francisco de Assis Rodrigues, revealing that he cared for pedagogical issues. The author hopes that this paper encourages international researchers to fulfill and contribute to a more global understanding of European Painting Education History.
VL  - 5
IS  - 6
ER  -

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