Mateus Rosada, Gustavo Bastos

O “MESTRE DA PERNINHA CRUZADA”:

Introduction

O “mestre da perninha cruzada”: . Investigação sobre Pedro José Pereira, entalhador rococó do séc. XVIII em Minas Gerais. Estudo de seus atlantes com pernas cruzadas em retábulos da Igreja do Rosário de Itabirito.

Abstract

Este artigo investiga a obra de um entalhador rococó e sua oficina, que realizava seus atlantes com uma característica muito peculiar e pessoal: eles se apoiavam, nas mísulas, com as pernas cruzadas na altura dos joelhos. Trata-se de Pedro José Pereira, autor da talha dos retábulos colaterais da Igreja do Rosário de Itabirito, em Minas Gerais, ativo na última década do século XVIII. Por meio da análise dos traços autorais do artista, este estudo apresenta as características de sua oficina com base nos retábulos comprovadamente realizados no Rosário de Itabirito, bem como traça comparações com outros exemplares em outras cinco igrejas da região. Tal comparação dar-se-á apenas por análise formal, uma vez que a documentação sobre essas igrejas é bastante lacunar. Procura-se, com este trabalho, ampliar o conhecimento sobre as artes nas Minas Gerais setecentistas e trazer à luz mais um nome de artífice obliterado pelo tempo.

Review

The article, intriguingly titled "O 'MESTRE DA PERNINHA CRUZADA'," delves into the previously underexplored oeuvre of Pedro José Pereira, a Rococo woodcarver active in Minas Gerais during the late 18th century. The core of this investigation centers on a distinctive and personal characteristic found in the atlantes crafted by Pereira and his workshop: their unique posture of supporting entablatures with legs crossed at the knees. This study aims to delineate the authorial traits of Pereira's workshop, using the authenticated altarpieces from the Igreja do Rosário de Itabirito as a primary reference, while also drawing formal comparisons with analogous works in five other regional churches. Ultimately, the paper seeks to enrich the understanding of 18th-century art in Minas Gerais and resurrect the name of an artisan whose contributions have largely been obscured by time. A significant strength of this research lies in its precise identification and detailed analysis of a highly specific artistic signature, the "perninha cruzada," which provides a compelling entry point into the artist's unique stylistic vocabulary. The methodology employed, relying on a meticulous examination of verified works and subsequent formal comparisons across undocumented examples, is appropriate and commendable given the historical context of scarce archival material. By focusing on "traços autorais," the study demonstrates a rigorous approach to art historical attribution, offering a valuable model for investigations into other poorly documented workshops of the period. This careful comparative analysis, even when limited to formal aspects, promises to illuminate stylistic connections and potential attributions that would otherwise remain conjectural. This work represents a valuable contribution to the historiography of Brazilian Rococo art, particularly within the rich context of Minas Gerais. By meticulously bringing to light the figure of Pedro José Pereira and the defining characteristics of his workshop, the article not only expands our knowledge of individual artists but also contributes to a more nuanced understanding of regional artistic production and patronage in the colonial period. While the focus is necessarily on formal analysis due to documentary lacunae, the implications of identifying such a specific stylistic trait invite further questions regarding potential influences, the dynamics of workshop practice, and the broader artistic milieu. The paper is well-conceived and executed, successfully fulfilling its stated aims of broadening knowledge and honouring an artist previously overlooked, thereby securing its place as an important reference for scholars of Brazilian art history.

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