Francisco de Campos (c.1515-1580) e a Bella Maniera : entre a Flandres, Espanha e Portugal

Abstract

A periodização que nos balizou situa-se entre um certo élan de modernidade cultural e artística que caracterizou o reinado de D. João III (a arte de Gregório Lopes, por exemplo) e os anos de regência de D. Catarina em que o italianismo se acentua, até aos alvores do domínio filipino, durante o qual a produção pictórica evoluiria para uma pittura senza tempo, pautada pelos rigores do decoro tridentino. Ao estabelecer rupturas com os paradigmas tradicionais, Francisco de Campos foi capaz de se libertar dos estiolantes constrangimentos que impunham limitações aos artistas da geração anterior, gerando uma obra que assumiu um papel de referência no contexto do Maneirismo internacional. A sua pintura participa da essência maneirista dominante na Europa, demarcando-se do mimetismo formal que caracterizava os artistas coetâneos nacionais, revelando uma total compreensão do fenómeno criativo que o mesmo supõe e produzindo uma obra tão original quanto moderna, que faz eco da dimensão sócio-cultural de um tempo de mudança. Nela se pressente uma agitação íntima, que a perpassa como um murmúreo, numa busca permanente de uma ideia de beleza universal que lhe confere o sentido de “graça”, parecendo dar resposta à sua necessidade formal de resolver a contradição íntima entre o sentimento lírico pessoal, que procura na forma uma comunhão sensível, e a distância própria que impõe a imagem litúrgica, de acordo com a tradição flamenga, da qual ele é herdeiro. Ora o virtuosismo de Campos - como vemos na belíssima Epifania da Sé de Évora - consiste precisamente em encontrar também no mundo litúrgico matéria de lirismo pessoal, implicando as suas figuras a tomada de consciência de uma realidade mais natural e humana, que interpela a sensibilidade pessoal do espectador.

The aim of this thesis is to identify and analyse the work of one of the great Portuguese Mannerist painters - Francisco de Campos – in order to pursue an understanding of the ways and means of expression that became of central importance in Portuguese mid 16th century Painting, and which were thus responsible for its innovative development. Francisco de Campos (ca. 1515-1580) was an artist that extended his Nordic roots whilst adapting to the emerging Italian influences. By doing so, he managed to develop an artistic approach that would challenge and serve as an alternative solution to the outworn academic tradition of the preceding 15th century. This thesis will focus on period work dating back from the Reign of John III, characterised by a cultural and artistic modern drive (e.g. Gregorio Lopes’ work), followed by the regency years of Queen Catharine, when Italianism was thriving, to the beginnings of the Spanish rule, during which painting evolved to a pittura sensa tempo, in line with the strict canons enforced by the Council of Trent. By defying the Establishment and therefore, freeing himself from the severe artistic constraints and limitations that the prior generation of artists had to endure, Francisco de Campos was able to create a work that became a prominent feature of International Mannerism. His work conveyed the essence of the Mannerism that was dominant in Europe as he detached himself from formal mimicry, a modus operandi so characteristic of his contemporary fellow-countryman. Moreover, his paintings revealed a complete understanding of the Mannerist creative process, thus producing a modern original work that echoed the social-cultural change of that time. One can feel a certain intimate restlessness across his work, where “grace” is revealed as the utmost expression of the artist’s endless quest for a universal definition of beauty. This quest was urged by the need to solve an innermost contradiction between his personal lyricism, heir to a Flemish tradition, and the required reverence for liturgical art. In conclusion, the virtuosity of Francisco de Campos - as shown by the great Epifania at the Cathedral of Évora - consists precisely in finding a way to convey his personal lyricism when painting liturgical subjects. As a result, his figures portrait a more natural and human feeling, therefore challenging the sensibility of the spectator.