We invite you to enter a dense forest, which they call 'baroque', until its tardus, and 'rococo'. The itinerary for venturing into it is called ‘liturgy’. Do not walk alone. André Soares is going to show us where he inspires his road, that is, his work, open between clearings and clear and deep shadows, which runs through its lines, voluminousness and granite and carved creases, in the blue that he brings closer to gold, to recreate splendors of mysteries. We will dive into less explored aspects, in the opacity of a non- knowledge, a cloud with its own ritual, in the dance between two friends, art and liturgy. André Soares designed buildings, especially churches and chapels, but also altarpieces, so that holy mysteries were celebrated there. Did the Christian liturgy, which was celebrated in his time, also influence him in the grammar and plasticity of his works? What kind of liturgy was that? In formal and theological terms, what are the main characteristics of his ‘genius’? Could his works somehow show, in epiphany, the liturgical style of his time? In order to answer these and other questions, it is essential that we know, albeit in general terms, the liturgy of the Baroque period and certain circumstances of its historical context. And, also, the Baroque piety itself.
The 500-page, two-volume book collects 18 texts by renowned art historians (UMinho, UCatólica de Braga, UPorto (FAUP), ULisboa (ARTIS), UNova Lisboa, UFMinas Gerais, UDiamantina, UAlcalá de Henares, Museu de Arte Antiga, etc.) and celebrates 250 years since the death and 300 years since the birth of the architect André Soares. Prof. Joaquim Félix from CITER wrote one of those looks: «André Soares e a Liturgia Barroca».