Microsoft Word - 27720_GG_v3.docx Studies in Digital Heritage, Vol. 3, No. 2, Publication date: December 2019 Between Light and Shade – the Present and Future of the Collection of old Lithography of FBAUL ALBERTO FARIA, University of Lisbon, Portugal The Faculty of Fine Arts of the University of Lisbon (FBAUL) holds a Collection of Lithographs, dated between 1840 and 1911, related to the memory of teaching Drawing in the nineteenth century. Lithographs after works of Italian Old Masters like Raphael Sanzio and Pompeo Batoni, respectively, Drawing Courses of French artists of the second half of the nineteenth century like Charles Bargue, Auguste Allongé among others, relate this Collection with its European counterpart of the nineteenth century. The FBAUL Virtual Print Room is a bilingual (Portuguese/English) website project to enable users in future to have access to the Inventory and Knowledge of the Collection and build connections with other Archives worldwide. Key words: Digital Humanities, Lithography, University Collections SDH Reference: Alberto Faria. 2019. Between Light and Shade – the Present and Future of the Collection of old Lithography of FBAUL. SDH, 3, 2, 122-127. DOI: 10.14434/sdh.v3i2.27720 1. INTRODUCTION The FBAUL Virtual Print Room is a project currently in progress as part of my Ph.D. Thesis in Heritage Sciences at the University of Lisbon, Faculty of Fine Arts (FBAUL), under the supervision of Prof. Luísa Arruda, Prof. Fernando António Baptista Pereira (University of Lisbon) and Prof. João Brigola (University of Évora). The project intends to present online the Inventory and Study of the FBAUL Collection of old Lithography. The Lisbon’s Faculty of Fine Arts is housed in the former Convent of São Francisco da Cidade, a thirteenth-century building, where in 1836 the Lisbon’s Academy of Fine Arts was established [Calado, 2000, 2018]. The building of the Convent was also chosen to lodge several institutions and their collections, which later gave origin to several important Museums in Lisbon [Alves et al., 2018]. Direct heir of the former Academia and its heritage, the FBAUL encompasses collections which are mostly related to teaching models and academic exercises; an Historical Archive, books, and Legacies of the Portuguese sculptor Lagoa Henriques (1923-2009), and the architect Miguel Ventura Terra (1866-1919) [Pereira, 2011]. The work for this article has benefited from the support of a PhD Grant from the Fundação para a Ciência e Tecnologia. The author is a researcher affiliated to the Universidade de Lisboa, Faculdade de Belas-Artes, Centro de Investigação e de Estudos em Belas-Artes (CIEBA) | CIDEHUS/UÉ. Author's address: Alberto Faria, Faculty of Fine Arts, University of Lisbon, Largo da Academia Nacional de Belas-Artes, 1249- 058, Lisbon, Portugal; email: albfaria@gmail.com © [2019] by the author; licensee Studies in Digital Heritage, IU, Bloomington (IN), USA. This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution License (CC BY-NC). https://doi.org/10.14434/sdh.v3i2.27720 Between Light and Shade 3:123 Studies in Digital Heritage, Vol. 3, No. 2, Publication date: December 2019 Although there have been efforts to study and disclose it well as underline its relationship with the method of learning Drawing at the former Academia; the Collection of old Lithography of FBAUL is only partially known [Arruda 2012, 2016]. The Collection comprises over five hundred lithographs, dated between 1840 and 1911. The lithographs display the drawings of the Italian Old Masters like Raffaello Sanzio (1483-1520) and Pompeo Batoni (1708 - 1787), by artists, such as Vincenzo Camuccini (1771-1844); Drawing Courses of professors of the Academia, like Joaquim Rafael (1783-1864), and French artists: Auguste Allongé (1833-1898), Charles Bargue (1826/27–1883), Jean-Léon Gérôme (1824-1904), Jules Carot (1877-?) and Josephine Ducollet (1846-1876; active). These lithographs played a major role in the apprenticeship of Drawing at the former Academia/Escola de Belas-Artes de Lisboa, which followed the example of its European counterparts [Arruda, 2012, 2016]. 2. WEBSITE: FBAUL | VIRTUAL PRINT ROOM In Europe there are institutions that have their Print Rooms online: The Herzog August Bibliothek (Germany); The College of Optometrists (England); Victoria & Albert (England), Ashmolean Museum of Art and Archeology of the University of Oxford (England). The initiative to present part of the collections of the FBAUL online started with the Virtual Museum of FBAUL in 2011, an idea outlined in the scope of my master’s thesis [Faria 2009]. This Museum set online the complete inventory of the FBAUL old drawing collection [Arruda & Faria 2011; Faria 2016]. In 2014 an expanded version was outlined and later developed which is currently online and includes besides the collection of old drawing of FBAUL, the collection of etching and a Virtual Tour to the building of the FBAUL [Cardeira 2014, 2015]. The FBAUL Virtual Print Room is a bilingual (Portuguese/English) website (still under construction) that presents the Collection of old Lithography. Its main aim is to allow users to have access online to the Inventory and Study of the Collection. The website is divided into three main sections: 1) Catalogue; 2) Study Room; 3) Mapping (Figure 1). Figure 1. Homepage of FBAUL Virtual Print Room. 3:124 A. Faria Studies in Digital Heritage, Vol. 3, No. 2, Publication date: December 2019 Catalogue The Catalogue tab refers to the section where the database of the Collection is presented. This database is a search engine with fixed criteria, which allows the users to find works that exist in the Collection. The search can be performed using one of the following fields: Inventory Number/ Author/Artist, Drawing, Lithographer or Subject After the search is validated, the results convey information of the lithograph(s) regarding the identification of the Inventory Number, Author/Artist of the drawing or lithograph, Subject, Title, Dimensions, Date, and a brief Description of the work. All records presented give access to the Inventory Record in PDF format (Figs. 2 and 3). Figure 2. Catalogue Page. Figure 3. Catalogue Page. View of the Search Result. Between Light and Shade 3:125 Studies in Digital Heritage, Vol. 3, No. 2, Publication date: December 2019 Study Room Study room is a section of the FBAUL Virtual Print Room, where the lithographs are analyzed following a comparative approach - Comparative Study. The users have access to a selective group of lithographs, organized according to the subject or artist. The Lithographs are compared with examples taken out from art treatises, or originals that served as working references, but also drawings done after the lithographs, namely from the Collection of old drawings of the FBAUL. This last approach identifies the relation between the lithographs and the study of Drawing, mainly with Collection of old drawing of the FBAUL [Arruda 2010; Faria 2008, 2011]. All comparative studies are accompanied with a brief explanatory text and hyperlinks to selective bibliographical references (Fig. 4). Figure 4. View of the Study Room Page. Mapping This section considers a geolocation approach, using Google Maps to view the whereabouts of lithographs from the Collection in Archives of institutions in Portugal and other parts of the World. The view identifies the work, location, archive and URL’S (if applicable) in a Pop-Up window. (Fig. 5). 3. CONCLUSIONS The FBAUL Virtual Print room is a specific website that presents online, the study and research of the Collection of old Lithography of FBAUL. This project intends to heighten the Collection of Lithography on the map of University Art Collections and by this way relaunch its museological identity as part of the artistic heritage of the FBAUL. My aim is to contribute to support the understanding of Portuguese academic drawing, regarding the methods and models which were 3:126 A. Faria Studies in Digital Heritage, Vol. 3, No. 2, Publication date: December 2019 followed in the nineteenth century and the first decade of the twentieth century and finally, bring this Collection to Light. Figure 5. View of Mapping Page. 4. ACKNOWLEDGEMENTS The author gratefully acknowledges the web developer, João Santos. 5. REFERENCES Alves, Alice Nogueira, Arruda, Luísa, Fragoso, Diana. 2018. O Convento de São Francisco da Cidade de Lisboa – Uma casa de coleções. Dinâmicas do Património Artístico. Circulação, transformações e diálogos: 215-223. Lisboa: ARTIS, Instituto de História da Arte da Faculdade de Letras da Universidade de Lisboa. Arruda, Luísa, coord.; Faria, Alberto. 2010. Desenho antigo: na colecção da Faculdade de Belas-Artes da Universidade de Lisboa, Lisboa: Faculdade de Belas Artes da Universidade de Lisboa. Arruda, Luísa & Faria, Alberto. 2011. Museu Virtual da FBAUL. Retrieved on December 23, 2019 from http://hdl.handle.net/10451/4280 Arruda, Luísa. 2012. Imagens do corpo na Academia de Belas-Artes: método de aprender o desenho. In Tavares, Cristina Azevedo (org.), Representações do corpo na ciência e na arte: Lisboa: Fim de Século, 139-151. Calado, Margarida 2000. O Convento de S. Francisco da Cidade. Subsídios para uma monografia. Between Light and Shade 3:127 Studies in Digital Heritage, Vol. 3, No. 2, Publication date: December 2019 Biblioteca d’Artes, Lisboa: Faculdade de Belas Artes de Lisboa/ Universidade de Lisboa. Calado, Margarida. 2018. O Convento de S. Francisco da Cidade= S. Francisco da Cidade Convent. Faculdade de Belas Artes da Universidade de Lisboa, Lisboa. Cardeira, Ana Mafalda. 2014. Museu Virtual FBAUL: Work in progress para a Coleção de Pintura. In Semedo, Alice, Nascimento, Elisa Noronha, Centeno, Rui (coord), Atas do Seminário Internacional «O Futuro dos Museus Universitários em Perspetiva»: 101-106. Porto: Universidade do Porto. Cardeira, Ana Mafalda. 2016. New Virtual Museum of the Faculty of Fine Arts of Lisbon: Collections and Virtual Tour. In Connecting Collections. XVII Universeum Network Meeting. Amesterdam. Faria, Alberto Cláudio Rodrigues. 2009. A Colecção de Desenho Antigo da Faculdade de Belas-Artes de Lisboa 1830-1935: tradição, formação e gosto. 4 v. Lisboa: [s.n], Universidade de Lisboa, Faculdade de Belas-Artes. Faria, Alberto 2011. A Colecção de Desenho Antigo da Faculdade Belas- Artes de Lisboa 1830-1935: tradição, formação e gosto. Lisboa: Fim de Século. Faria, Alberto. 2016. The Virtual Museum of Faculty of Fine Arts, University of Lisbon. In Wolfschmidt G. ed. Enhancing university heritage-based research: Hamburg: Tradition GmbH, 223-227. Pereira, Fernando António Baptista. 2011. O património artístico da Faculdade de Belas-Artes: o edifício e as suas memórias, as colecções, o arquivo, os legados, um projeto de museu. In Lourenço, Marta, Neto, Maria João. coord. Património da Universidade de Lisboa: ciência e arte, Lisboa: Tinta-da-China, 157-172. Received July 2019; revised November 2019; accepted December 2019