Disputas iconográficas na representação dos vícios e virtudes: as séries de gravuras Os sete pecados capitais e As sete virtudes de Pieter Bruegel, Pieter van der Heyden, Phillip Galle, Hieronymus Cock, e o processo de Confessionalização nos Países Baixos Habsburgo (1550 – 1560)
Data
2024-10-30
Tipo
Dissertação de mestrado
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Esta dissertação examina as séries de gravuras Os Sete Pecados Capitais e As Sete Virtudes, publicadas entre 1556 e 1560 pela oficina editorial Aux Quatre Vents, de Hieronymus Cock e Volcxken Diercx, em Antuérpia. Produzidas a partir dos desenhos de Pieter Bruegel e gravadas por Pieter van der Heyden e Phillip Galle, as gravuras representam os sete pecados capitais — Avareza, Gula, Soberba, Luxúria, Inveja, Preguiça e Ira — e as sete virtudes, teológicas e cardeais — Caridade, Fé, Esperança, Prudência, Justiça, Fortaleza e Temperança. O objetivo desta pesquisa é analisar a produção dessas séries no contexto das dinâmicas de confessionalização e disciplinamento social nos Países Baixos durante as décadas de 1550 e 1560. Por meio de uma análise iconográfica e textual, exploramos as diferenças e semelhanças entre as representações de vícios e virtudes, refletindo sobre o que essas imagens indicam acerca dos conflitos confessionais e seus múltiplos espaços de disputa e recepção no debate político-religioso. No contexto dessas disputas políticas e religiosas e das guerras intestinas à Cristandade, propomos que esses impressos tinham uma função retórico-visual, destinada a reforçar preceitos de moral cristã, educação liberal e uma vida ativa e santificada, visando à restauração da paz e concórdia internas. Também situamos essas gravuras e o ofício desses impressores em um ambiente de erudição humanista. Preocupados com as divisões confessionais, argumentamos que essas gravuras funcionam como exemplares visuais pedagógicos, cujo intuito era educar e disciplinar o comportamento cristão, mas sobretudo defender unidade da respublica christiana em meio às tensões confessionais.
This dissertation examines the series of engravings The Seven Deadly Sins and The Seven Virtues, published between 1556 and 1560 by Hieronymus Cock's Aux Quatre Vents publishing house in Antwerp. Produced from drawings by Pieter Bruegel and engraved by Pieter van der Heyden and Phillip Galle, the engravings represent the seven deadly sins—Avarice, Gluttony, Pride, Lust, Envy, Sloth, and Wrath—and the seven theological and cardinal virtues—Charity, Faith, Hope, Prudence, Justice, Fortitude, and Temperance. The aim of this research is to analyse the production of these series in the context of the dynamics of Confessionalization and social discipline in the Netherlands during the 1550s and 1560s. Through an iconographic and textual analysis, we explore the differences and similarities between the representations of vices and virtues, reflecting on what these images indicate about confessional conflicts and their multiple spaces of dispute and reception in the political-religious debate. In the context of these political and religious disputes, we propose that these prints had a rhetorical-visual function, intended to reinforce precepts of Christian morality, liberal education, and an active and sanctified life, with the aim of at the restoration of internal peace and concord. We also situate these engravings and the craft of these printers in an environment of humanist scholarship. Concerned with confessional divisions and religious wars, we argue that these engravings functioned as visual pedagogical examples, whose purpose was to educate and discipline Christian behaviour, but above all to defend the unity of the respublica christiana amid confessional tensions.
This dissertation examines the series of engravings The Seven Deadly Sins and The Seven Virtues, published between 1556 and 1560 by Hieronymus Cock's Aux Quatre Vents publishing house in Antwerp. Produced from drawings by Pieter Bruegel and engraved by Pieter van der Heyden and Phillip Galle, the engravings represent the seven deadly sins—Avarice, Gluttony, Pride, Lust, Envy, Sloth, and Wrath—and the seven theological and cardinal virtues—Charity, Faith, Hope, Prudence, Justice, Fortitude, and Temperance. The aim of this research is to analyse the production of these series in the context of the dynamics of Confessionalization and social discipline in the Netherlands during the 1550s and 1560s. Through an iconographic and textual analysis, we explore the differences and similarities between the representations of vices and virtues, reflecting on what these images indicate about confessional conflicts and their multiple spaces of dispute and reception in the political-religious debate. In the context of these political and religious disputes, we propose that these prints had a rhetorical-visual function, intended to reinforce precepts of Christian morality, liberal education, and an active and sanctified life, with the aim of at the restoration of internal peace and concord. We also situate these engravings and the craft of these printers in an environment of humanist scholarship. Concerned with confessional divisions and religious wars, we argue that these engravings functioned as visual pedagogical examples, whose purpose was to educate and discipline Christian behaviour, but above all to defend the unity of the respublica christiana amid confessional tensions.
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Citação
DUZZI, Mariana S. M. Disputas iconográficas na representação dos vícios e virtudes: As séries de gravuras Os sete pecados capitais e As sete virtudes de Pieter Bruegel, Pieter van der Heyden, Phillip Galle, Hieronymus Cock, e o processo de Confessionalização nos Países Baixos Habsburgo (1550 – 1560). 2024. 190 p. Dissertação (Mestrado em História) – Universidade Federal de São Paulo, Escola de Filosofia, Letras e Ciências Humanas, Guarulhos, 2024.