On painters, death and poets – Domingos Sequeira’s “Death of Camoes”

Authors

DOI:

https://doi.org/10.37508/rcl.2025.nEsp.a1411

Keywords:

Salon of 1824, History Painting, Camoes, Domingos Sequeira, Iconography

Abstract

In 1824, Domingos António Sequeira’s “Death of Camões” became the first work of art by a Portuguese painter to be accepted at the famous Paris Salon, the most important artistic event in the West at that time. The poet was already known in Paris during the early stages of Romanticism, thanks to Portuguese speaking elites living in there, and other paintings of camonian themes, had been taken up by French painters. Unfortunately, athough well receieved by these colleagues, the painting was not a success among the general public and ended up being offered by the painter to Emperor D. Pedro I and “disappeared” in Brazil. This article aims to examine the circumstances of its exhibition at the Salon and to analyse the paintings’s recepetion in France.

Downloads

Download data is not yet available.

Author Biography

Patricia D. Telles, Universidade de Évora e Museus e Monumentos de Portugal E.P.E / CHAIA

Doutora em História da Arte (Universidade de Évora 2015), com Pós-Doutorado pela Universidade de Coimbra (CEAA-CP). Tem Mestrado em Arts Administration (Columbia University, NY, 1996) e Pós-Graduação em História da Arte e Arquitetura no Brasil (PUC/ Rio, 1992). Premiada pela Association of Historians of Nineteenth Century Art (AHNCA) em 2011, e em 2016, pela Associação das Universidades de Língua Portuguesa (AULP), especializou-se em pintura de finais do século XVIII e início do XIX, sobretudo retratos, relações culturais e mercado de arte. Entre as suas publicações, destaca-se o livro O Cavaleiro Brito e o Conde da Barca: dois diplomatas portugueses e a“missão francesa”de 1816 ao Brasil (2017). Investigadora no CHAIA/UE, é professora convidada na Universidade de Évora e Coordenadora de Circulação na Museus e Monumentos de Portugal E.P.E.

References

ANGRAND, Pierre. Le comte de Forbin et le Louvre en 1819. Lausanne-Paris: La bibliothèque des arts, 1972.

AUGUSTYNOWICZ, Remy. Les représentations des guerres de religion à travers la peinture d’histoire du XIXe siècle. 2020. Dissertação (Mestrado em História, Civilização e Patrimônio) – Université de Picardie Jules Verne, Sciences de l’Homme et Société. França, 2020. Disponível em: https://dumas.ccsd.cnrs.fr/dumas-03126885v1/file/Mémoire%20Rémy%20 AUGUSTYNOWICZ.pdf. Acesso em: 02 set. 2025.

BAJOU, Valérie (org.) Horace Vernet (1789-1863) (catálogo de exposição). Château de Versailles et éditions Faton, 2023.

BOURDON, Léon. Lettres familières et Fragment du Journal Intime de Ferdinand Denis à Bahia (1816-1819). Coimbra: Coimbra editora, 1957.

BRIAT-PHILIPPE, Magali. ‘Vous qui voyez la lumière, vous souvenez-vous?’ La représentation des tombeaux dans la peinture du premier tiers du XIXe siècle. In: BRIAT-PHILIPPE, Magali. L’invention du passé – gothique mon amour (1802-1830), tome I. Bourg-en-Bresse: Monastère de Brou et éditions Hazan, 2014. p. 73

CHENIQUE, Bruno. Salon de 1824: Revue de la garnison de Paris et de la garde royale passe au Champ-de-Mars ou les affres du Juste-Milieu. In: BAJOU, Valérie (org.) Horace Vernet (1789-1863) (catálogo de exposição). Château de Versailles et éditions Faton, 2023.

COSTA, Luiz Xavier. A morte de Camões – quadro do pintor Domingos António Sequeira. Lisboa; 1922

DENIS, Ferdinand. Scènes de la Nature sous les Tropiques et de Leur Influence sur la Poésie, suivies de Camöens et Jozé Índio. Paris: Louis Janet, 1824.

Explication des ouvrages de peinture, sculpture, gravure, lithographie et architecture des artistes vivans [sic], exposes au Musée Royal des Arts, le 25 Aout 1824. Paris: C. Ballard, 1824.

FARIA, Dominique. Le travail du traducteur par lui-même au dix-neuvième siècle. Trans. Revista de Traductologia, n. 21, p. 207-218, 2017. DOI: https://doi.org/10.24310/TRANS.2017.v0i21.3652

FRANÇOIS, Martine. CAILLEUX Alphonse de, Alphonse Achille, vicomte dit Cailloux dit Cailleux. (2007) Comité des travaux historiques et scientifiques/ Institut rattaché à l’École nationale des chartes, França, 24 abr. 2077. Disponível em: https://cths.fr/an/savant.php?id=1109#. Acesso em: 8 jun. 2025.

GAUVARD, Claude; SIRINELLI, Jean-François. Dictionnaire de l’historien. Paris : PUF, 2015.

INES de Castro, avec ses enfants, aux pieds d’alphonse iv, roi du Portugal, pour obtenir la grace de Don Pedro, son mari.1335. Ministère de la Culture, França, 15 nov. 2023. Disponível em: https://pop.culture.gouv.fr/notice/joconde/000PE012356. Acesso em: 2 set. 2025.

LE DAUPHIN, Loïc. Inez de Castro, approche succincte. Maisons Victor Hugo, Paris, c2025. Disponível em: https://victorhugoressources.paris.fr/inez-de-castro-approche-succincte#_ftnref1. Acesso em: 2 set. 2025.

LETESSIER, Fernand. Alphonse de Lamartine a Charles Nodier. Bulletin de l’Association Guillaume Budé, n 3, p. 285-311, out. 1986. Disponível em: https://www.persee.fr/doc/bude_0004-5527_1986_num_1_3_1309.Acesso em: 2 set. 2025. DOI: https://doi.org/10.3406/bude.1986.1309

MASSONNAUD, Dominique. Le nu moderne au Salon (1799-1853), revue de presse. Grenoble: UGA éditions, 2005. DOI: https://doi.org/10.4000/books.ugaeditions.8555

PARISET, Etienne; MAZET, André. Observations sur la fièvre jaune, faites à Cadix, en 1819, Paris: Audot, 1820.

PROTÁSIO, Daniel Estudante. DENIS, Jean Ferdinand (Paris, 1798 - Paris, 1890). Dicionário de Historiadores Portugueses, da Academia das Sciencias ao Estado Novo, Portugal, 2020. Disponível em https://dichp.bnportugal.gov.pt/imagens/denis_eng.pdf. Acesso em: 31 maio 2025.

SILVA, Raquel Henriques da. “Camões no leito de morte” com um prologo sobre a “Vera efigie”. In: MUSEU NACIONAL DE ARTE ANTIGA. Épico e Trágico, Camões e os românticos. Lisboa: Museus e Monumentos de Portugal e.p.e. e Museu Nacional de Arte Antiga, 2024. p. 10-31.

SILVEIRA E SOUSA, Paulo. Garrett, Sequeira e a sombra de Camões. In: MUSEU NACIONAL DE ARTE ANTIGA. Épico e Trágico, Camões e os românticos. Lisboa: Museus e Monumentos de Portugal e.p.e. e Museu Nacional de Arte Antiga, 2024. p. 54-60.

STENDHAL. Salon de 1824. In: STENDHAL. Mélanges d’art et de littérature. Paris: Michel Levy, 1867.

TELLES, Patrícia D. O cavaleiro Brito e o Conde da Barca: dois diplomatas portugueses e a “missão francesa” de 1816 ao Brasil. Lisboa: Sistema Solar, 2017.

TELLES, Patrícia. Brasil e Portugal à sombra de Saint Sulpice: o “retrato dos Viscondes da Pedra Branca com a sua filha” por Domingos António Sequeira. In: VALE, Arthur; DAZZI, Camila; PORTELLA, Isabel (org.). Oitocentos, tomo III. Rio de Janeiro: CEFET/RJ, 2014. p. 412-423.

TOURNEUX, Maurice. Bibliographie des Salons 1801-1870. Paris: Jean Schemit, 1919.

VERGNETTE, François de. 10.18 Pierre-Charles Comte (1823-1895) Le couronnement d’ Ines de Castro en 1361, 1849 (notice). In: BANN, Stephen; PACCOUD, Stéphane (ed.). L’invention du passé – histoires de cœur et d’épée en Europe, 1802-1830, tome II. Bourg-en-Bresse: Monastère de Brou et éditions Hazan, 2014. p. 175.

Downloads

Published

2025-12-10

How to Cite

D. Telles, P. (2025). On painters, death and poets – Domingos Sequeira’s “Death of Camoes”. Converência Lusíada, 36(Esp.), 319–336. https://doi.org/10.37508/rcl.2025.nEsp.a1411

Issue

Vol. 36 No. Esp. (2025): Five hundred Camões, the reverberated poet – 2

Section

Scattered rays

License

Copyright (c) 2025 Patricia Telles

Creative Commons License

This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.

Authors who publish in Convergência Lusíada agree with the following terms:

  1. Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution-NonCommercial 4.0 International License (CC-BY-NC 4.0) that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this journal.
  2. Authors may enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal’s published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial publication in this journal.
  3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work.

Licença Creative Commons
Revista Convergência Lusíada is licensed under a Creative Commons - Atribuição-NãoComercial 4.0 Internacional.