Sónia Duarte
(Oporto, 21.11.1982). Postgraduate student in Art History with thesis “Images of Music in Baroque Painting in Portugal (1600-1750)”, at the Faculdade de Letras da Universidade de Lisboa; and PhD Grant Holder Fundação para a Ciência e a Tecnologia (Foundation for Science and Technology) (FCT). Holding a Master in Historical Musicology, by the faculdade de Ciências Sociais e Humanas da Universidade NOVA de Lisboa, with dissertation “The Contribution of Musical Iconography in the Painting of the 15th and 16th centuries, both Portuguese and Portuguese-Flemish and Flemish in Portugal, for the Recognition of Musical Practices at that Time: Sources and Models Used in the Painting Atelier” (2012, FCSH); Holding a Master in Teaching of Musical Education, by ESE- Polytechnic Institute of Oporto, with project “Motivation, Music and Museums: the Soares dos Reis National Museum as a non-formal space for the learning of music ” (2013, ESE, IPP); Specialised in Painting Conservation and Restoration (2006, Camera di Commercio Italiana); with a degree in Art History (2004, FLUP); she attended the Undergraduate Course in Musical Sciences (2009, FCSH) and the Course of Percussion (2004, Conservatório de Música do Porto). She held an award for a training course (PEPAC) at the Music National Museum and another for a training course (PEJENE) at the Municipal Historical Archives of Penafiel. In recent years she has taught the subjects of Musical Education, Music History and Culture and Art History in the Specialised Artistic Education (Music, Dance and Theatre). She cooperates with ARTIS – School of Arts and Humanities of the University of Lisbon; the Musical Iconography Centre/CESEM of Universidade NOVA de Lisboa and of Porto Higher School of Eduaction. Since 2009 she conducts a researches on and writes about images of music in the Portuguese painting of the 15th and 16th centuries, and has presented the results in articles, chapters of books and conferences. She continues carrying out a survey of musical iconography in Portuguese painting in Portugal as from the 17th century.
Sónia DUARTE, “Em cada casa pandeyro e gayta em cada palheyro: Fontes e modelos para a representação de instrumentos musicais populares na pintura quinhentista em Portugal”, ARTIS – Revista de História da Arte e Ciências do Património, ed. Maria João Neto (ARTIS, n.o 5, Faculdade de Letras da Universidade de Lisboa, 2017; no prelo).
Sónia da Silva DUARTE, “Não desapareceu e está em sítio digno: a extinção das ordens religiosas e a redescoberta da tábua quinhentista atribuída a Gregório Lopes, outrora no convento de Santo António da Piedade de Évora”, Património Artístico das Ordens Religiosas, ed. Clara Moura Soares (ARTIS ON, n.º 3, Universidade de Lisboa; Biblioteca Nacional de Portugal, 2016), pp. 63-70. ISSN 2183-7082
Sónia da Silva DUARTE, “Iconografia Musical na Pintura Retabular e Mural Quatrocentista: Álvaro Pires de Évora, Bernardo Martorell e os ignotos Mestres da Batalha, de Arouca e de Monsaraz”, Incip 3. Workshop de Estudos Medievais da Universidade do Porto (Faculdade de Letras da Universidade do Porto, 2014), pp. 153-164. ISBN: 978 989 8648 44 0
Sónia da Silva DUARTE, O contributo da iconografia musical na pintura portuguesa, luso-flamenga e flamenga em Portugal, para o reconhecimento de práticas musicais da época: fontes e modelos usados nas oficinas de pintura, 2 volumes, Mestrado em Musicologia Histórica (Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa, 2012).
Sónia Maria da Silva DUARTE, “E em Portugal ha taes, tam grandes e naturaes: imagens de música nas tábuas do pintor régio Gregório Lopes”, Iconografia Musical: Autores de Países Ibero-Americano e Caraíbas, ed. e coord. Luzia Rocha, Núcleo de Iconografia Musical/Centro de Estudos de Sociologia e Estética Musical (CESEM/Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa, 2014), pp. 156-179. ISBN 978-989-20-5491-9
The study of musical iconography in the Portuguese painting is still to be done. The fact that it is generally ignored in the iconographic–iconological analysis, due to the secondary plans in which it is represented or mentioned without accuracy in the designation, justifies the development of this ‘corpus’, resulting from the direct observation and from the scientific description of those aspects, not only in painting in Museums, but also the painting that can be found in churches, chapels, private collections, charities, sanctuaries, among others. This projects aims therefore at carrying out a comprehensive survey of the musical representations of the baroque period, from the instruments to the musical notations in painting. This projects covers the period between 1600 and 1750 (Philippine Dynasty, years of the Restoration and “pedrino-joanino” apogee) the objectives being the inventory, cataloguing, identification and dissemination of the specimens, both in scientific texts and in the customisation of a Database. Our purpose is therefore to contribute to a larger knowledge of Art and Music History in Portugal.