Your browser needs Javascript support for this feature. <h5><h3><h4>Museu Nacional do Azulejo (National Tile Museum)<br />Rua da Madre de Deus, nº 4 | 1900-312 Lisboa<br />Telf: (+351) 218 100 340    <br />e-mail: <a href=""></a>   <br /><br /><a href="" target="_blank"><img width="284" height="287" style="WIDTH: 33px; HEIGHT: 36px" border="0" src="/Data/ContentImages/fb_icon_325x325.jpg" /></a></h4></h3></h5> - Explore / Highlights
29 September 2020
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Explore / Highlights

Altarpiece of Our Lady of Life

Altarpiece of Our Lady of Life
Lisbon, Marçal de Matos, c. 1580
Polychrome earthenware
500 x 465 cm
Provenance: the former church of Santo André, chapel of Nossa Senhora da Vida, Lisbon
MNAz inv. no. 138

On its taste for monumentality, on the capacity for articulation with architecture, and thus transforming the space, and in the expressive liberty with which the painter interpreted the international erudite models, the panel Nossa Senhora da Vida is a paradigm of Portuguese tile making, reuniting the chief characteristics of its identity, more developed in subsequent years, and from that moment on, during 17th century.
Room 4

Frontal of a three-section altar

Frontal of a three-section altar

On loan from the Machado de Castro National Museum
Lisbon, middle of the 17th century
Polychrome earthenware
92 x 176 cm
Provenance: Carmelite convent in the Coimbra region

The taste for the exotic, present on Portuguese tile making throughout the times, had, in 17th century, an epoch of contact with remote cultures through maritime voyages. A moment of apogee that materialised, chiefly, on altar frontals inspired on tissues from India called Chitas.
Room 7

Monumental silhar on a staircase

Monumental silhar on a staircase
Lisbon, c. 1640
Polychrome earthenware
396 x 327 cm
Provenance: the former S. Bento da Saúde monastery, Lisbon, now the Portuguese Parliament
MNAz invº 1700

The grotesque tiles constitute one of the most significant manifestations of mannerist taste on Portuguese tile making of 17th century.
The concern for adjusting the revetment to the architectonic space has, on the series to which this panel made for a staircase belongs, an inventive expression on the lozenge form of the tiles.
Room 9

The Leopard Hunt

The Leopard Hunt
Lisboan, 3rd quarter of the 17th century
Polychrome earthenware
150 x 189,5 cm
Provenance: Quinta de Santo António da Cadriceira, Turcifal, Torres Vedras
MNAz invº 137

The Panel showing a Leopard Hunt mirrors, in an eloquent way, Portuguese contact with people from far-away places and exemplifies the imaginative processes of working that, starting from international engravings, were followed by tile painters in Portugal.
Room 10

The Dancing Lesson The Dancing Lesson
Holland, Willem van der Kloet (1707).
Blue-and-white earthenware
170 x 400 cm
Provenance: The Galvão Mexia palace, Lisbon
MNAz invº 1680

The technique superiority of Dutch tiles and the blue on white painting, connoted with the prestige of Chinese porcelain, led, between 1690 and 1715, to ordering pieces from Dutch workshops.
Willem van der Kloet, author of panel The Dance Lesson, or Jan van Oort, who executed the panels of Madre de Deus Church are two qualified examples of the aesthetic options of Portuguese clientele of the era.
Room 11

Lady at her Dressing Table
Lady at her Dressing Table

Lisbon, second quarter of the 18th century
Attributed to P.M.P.
Blue and white earthenware
1720 x 1730
Provenance: The Portas de Ferro estate, Camarate, Lisbon
MNAz invº 6341

The panel Lady at dressing table, from master P.M.P. shows this painter, whose identity is yet unknown, preference for gallant scenes, showing the daily routines of aristocracy. Illustrating the careful aesthetic preparation of an aristocratic lady, this panel reflects, surely, the uses of those who inhabited the space on which it was applied.
Room 11

History of the Hat-maker

History of the Hat-maker

Lisbon, first quarter of the 19th century
Polychrome earthenware
83 x 116 cm
Provenance: Quinta do Chapeleiro, Póvoa de Santo Adrião
MNAz invº 227a, b, c, d, e ,f, g

History of the Hat-maker
The seven panel set allusive to the History of Hat-Maker António Joaquim Carneiro is paradigmatic of a new period of Portuguese tile making, marked by the rise of the bourgeoisie.
From the end of 18th century on, Nobility and Church loose the exclusive of tile ordering, being a paradigm of that change this social climbing of a poor boy.
Room 13

Flowering vase

Flowering vase

Lisbon, Luís António Ferreira, "Ferreira das Tabuletas" (Ferreira of the Signs)
c. 1860
135 x 81 cm
Provenance: the garden of a house in Rua Nova da Trindade, Lisbon
MNAz invº 5930

Example of romantic eclecticism on tile making, linking naturalistic elements to neoclassical ones, this flowery jar, section of a larger dimension panel, was made by Luis António Ferreira, known as Ferreira das Tabuletas ( Ferreira of Signboards) for the garden of a rich Galician merchant living in Lisbon.
Room 14

Lisbonne au mille couleurs

Lisbonne au mille couleurs
Paolo Ferreira (1911-1999)
Polychrome earthenware
224 x 225 cm
Replica of one section of the wall-covering for the Portuguese Pavilion at the Paris International Exhibition, 1937
Donated by the Calouste Gulbenkian Foundation
MNAz invº 5928

On the context of the politic line followed by Estado Novo in the 30s and 40s, tile once again played a significant role for incrementing architectures, being also used as an important mean of divulging national values and themes.
This panel, a modernist example of this tendency, constitutes a replica made by its own author, Paolo Ferreira, of an original ordered for Portugal Pavilion in Paris 1937 International Exhibition, a project of architect Francisco Keil do Amaral.
Room 15

The Shadow

The Shadow

Lisbon, Oficina do Castelo
Blue earthenware
198 x 198 cm
Donated by the artist
MNAz Invº 7034

Made for Expo’98, one of the most important public work campaigns of the end of 20th century, cause of several tile orders, this panel is a replica of the original, from author Fernanda Fragateiro, part of a set conceived for Wave Garden and Water Garden.
It was the author wish to simulate a big seaweed, a representation strongly associated to the garden theme and, mainly, to the vaster theme of the Expo, the Oceans.
Room 15

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