Gerard de Lairesse in Portuguese: The Groot Schilderboek in Lisbon and Rio

Abstract

Through the adoption and endorsement of the ‘antique’, that was “followed by the most polite nations”, Gerard de Lairesse (1641-1711) aspired to reach out beyond the borders of the Northern Netherlands. His success with the grand and important elsewhere would eventually put contemporary Dutch art on the artistic map of Europe – or so he hoped. In that respect, the Groot schilderboek (1707) had an important role to play, and it was to do so marvelously well. It is little known, though, that De Lairesse’s encyclopedic treatise on art was translated into Portuguese in 1801. This job was entrusted to the Brazilian friar and botanist José Mariano da Conceição Veloso, who was at the time the director of the Arco do Cego – the most important printing center to introduce new techniques to the Portuguese printing scene, that could accommodate ever-growing print runs. De Lairesse’s writings, however, not only contributed to the modernisation of printing industry in Portugal. In 1808 the Grande livro dos pintores crossed the ocean and landed in Brazil, where it played a significant role in (re)starting the printing industry. This article will trace the fascinating journey of the Groot schilderboek from Portugal to Brazil and assess its place in the modernisation of printing business in these two countries. In order to demonstrate the significance of De Lairesse’s musings in this process, the author will briefly scrutinise the Portuguese printing scene of the long eighteenth century (1683-1808), discuss the printing enthusiasts who stood behind the translation and various Portuguese editions of the Groot schilderboek, as well as the role of De Lairesse’s treatise in the training programme of aspiring print makers associated with the Arco do Cego. I will ultimately follow its crossing to Brazil, all in hope of shedding additional light on the purely practical side of the Groot schilderboek that has oftentimes gone unnoticed.