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Without the deliberate purpose of controversy about the theme which sends us to Dalton Sala's research, that asserts that the authorship of the beautiful sculptures does not belong to Antonio Francisco Lisboa illustration (Aleijadinho), I will focus on the subject from a different angle: the autonomy of the art and the truth.
Positivists affirm that, against facts, there are no arguments. On the other hand, journalists consider more important than the facts the possible versions thereof. Finally, the semiólogos judge to be, above all facts and versions, the interpretation. I tend to agree with the point-of-vies of the third group, specially when the discussion involves art.
The doubt about truth and lies afflicts human nature. There is an evergoing temptation to assure the meaning of all things. It seems like when we are able to that, we become less insecure and stronger beings. The problem, however, is that art, although it originates from the substance of the world, it doesn't hold the contamination of what is mundane.
On the other hand, it is common to affirm that the truth in art is not to be extracted from mundane. Art lives through time-space in total freedom, and that is what enables its content and form to be rebuilt through the light of transformations.
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It is this that explains the fact of a work created Péricles' 5th century, like the tragedy of Édipo Rei, to render as a challenge in the understanding of the contemporary phenomena. Nothing it will alter it, if, in a not so distant future, someone to finds a document which proves that the authorship of the piece was not Sófocles. What was created artistically continues to follow its own course. The rest up to all the "historical gossip". That's it, that's all. Period. End of story!.
Researcher Sala's diligent spirit is praised. Though his contribution, if it stands correct, will impose small alterations in the information field. In no way will the group of signs configuring the present aesthetics in Congonhas do Campo suffer any disturbance. There a way is consigned of apprehending what is Real in its deeper dimension concerning the pains of the world, of its tensions, of its beauty, of its contradictions. A vision of contrasts in the deepest sense of Baroque esthetics.
It is important to not that in not so recent history, the authorship of any work was an inexpressive data, subject to varting circumstances. The authorship, as we understand and value today emerges from a narcissist construction and patrimonial sense born from bourgeois imaginary, due to its unhealthy aspiration to eternity and profit.
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Atlante sustains the chapel's choir tribune of Nossa Senhora do Carmo, da Ordem Terceira do Carmo, em Sabará, MG., in O Aleijadinho, Germain Bazin, Editora Record, RJ., 2nd. ed. 1963, p. 185. Reserved reproduction rights to publisher Record.
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The sculptural work of Aleijadinho (or of who ever did them) is out of any occasional contamination. As art, nothing which may be discovered about it will affect or change it. And it is in this condition of artistic creation that the sculptures acquire real and perennial interest. In addition, they are curiosities, foolishness of the alcoves, in other words, all else is smaller, pettier, simplistic and belittled - everything that is refused and unknown to art. To reestablish or to ratify the "authorial truth" regarding the work of art signals a cross-eyed glance that tends to see the world through crooked vision.
* Ivo Lucchesi -- critic, essayist, with post-doctorate studies in the Theory of Literature at UFRJ (Federal University of Rio de Janeiro, Brazil) and professor at FACHA (Hélio Alonso College of Communication).
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