Abstract: In our studies about the Beuron School of Art and its arrival in
Brazil, we consider the hypothesis that it has been used in the decoration of
Liturgical spaces, either partially or entirely, by other artists directly linked to
the Beuron School of Art or by influence of the new paintings of Basilica of
Our Lady of Assumption, works made by Dom Adalbert Gresnigt (1877-1956)
and Br. Clement Maria Frischauf (1869-1944) from 1914 to 1922. To verify
this hypothesis, we have analyzed the set of pictorial cycles located in the
College's Chapel of São Bento Faculty, in the Eucharistic Sanctuary Our Lady
of Penha, two medallions in Basilica of Our Lady of the Assumption, and
some pictorial fragments of the Church of the Rosary of Campinas, all of them
works by Thomaz Scheuchl made between 1920s and 1940s. We also
remember that the artist developed some of the graphic works, such as the
cover to the Almanac of the National Basilica of Our Lady of Aparecida, but it
is possible that he could have made other works which are unknown up to the
present moment.
Keywords: Thomaz Scheuchl, Beuron School of Art, sacred art, art and
liturgy, religious image.
CONCEIÇÃO, R. A. . (2018) Thomaz Scheuchl, the trajectory of a disciple of Beuron: from the restoration of the Cathedral of the Ascension from Satu Mare to the church paintings from Brazil. ANASTASIS. Research in Medieval Culture and Art. Anastasis. Vol. V, Nr. 1/ May 2018. p.238-263. ISSN 2392–862X (print); ISSN-L 2392–862X; ISSN 2392–9472 (online).
All contents available in: Volume V, No. 1, May, 2018 http://anastasis-review.ro/wp-content/uploads/2018/07/Vol-5-1-2018.pdf
