Among the many points of interest in Josefa de Óbidos (1630–1684) that fascinate us — an artist who managed to establish herself in the field of Fine Arts, specifically in the Visual Arts — we are especially enchanted by the distinct feminine touch she imparted to her works. It is worth mentioning that, at the time, these activities were restricted to male artists and dictated by the tastes of... gentlemen. Therefore, what may seem natural to us today was not at all so in her time (at least in the Iberian periphery of Europe).
Isn't it disconcerting, almost provocative, the way she handled the religious theme of Agnus Dei, or the Paschal Lamb, depicted in a typical Baroque setting, lying with bound legs against a black background, yet surrounded by colourful flowers that soften the atmosphere of such a grim and unfortunate fate and grant some dignity to the life and death of the little animal?
Agnus Dei (Cordeiro Pascal). Josefa de Óbidos. 1660-70. Oil on canvas. Museu Nacional Frei Manuel do Cenáculo © DGPC/ADF. Photo: José Pessoa. Source: Artmagazin Online
It was her approach to still life that inspired us the most. The presence of everyday objects from the time, such as baskets, ceramics, and fabrics, are portraits of the era presented to us as if they had come straight out of contemporary interior design magazines. These representations offer us a glimpse into life in the Alcobaça region during the 17th century.
After the monks of the Cistercian Order received the administration of territory as Coutos from King Afonso Henriques (c. 1106, 1109 or 1111–1185) in tribute to the support they provided during the so-called Reconquista (Reconquest), they established Granjas (farms) throughout the region — from Óbidos (where Josefa later lived and worked) to the outskirts of what is now the city of Marinha Grande.
Óbidos landscape. Leiria, Portugal. Mário Novais (1899–1967). Undated photograph. Source: Calouste Gulbenkian Foundation Art Gallery.
And it was from this type of agricultural activity that the now-famous orchards of apples and pears, vineyards, and ginjas (sour cherries) emerged. But that's not all... some of the renowned convent sweets we know today also originated here, such as pão de ló (sponge cake) and biscuits, which during the time of Josefa de Óbidos' works, would not have been easily accessible outside the monasteries.
All of this found its way onto the artist's canvases in a very appealing manner, even to our contemporary taste, featuring tables adorned with baskets and bowls, surrounded by flowers and filled with these fruits and convent sweets. All very colourful and striking, arranged with an evident feminine touch, but also of great historical value.
Still life with sweets and pottery. Josefa de Óbidos. 1676. Oil on canvas. Biblioteca Municipal Braamcamp Freire de Santarém. Source: É um oceano
We dared to create one of our lighting solutions, the Josefa Table Lamp, as a reinterpretation of the aesthetic of these paintings. Using pottery to shape the main body, with a pot-like form and geometric bas-relief motifs. Its cheerful and vibrant colours — such as Rosé or Padrón Green — complete the piece with the feminine touch that Josefa incorporated into her paintings.
Finishes and lampshades available (from left to right): Padrón Green with Raffia Lampshade, Rosé with Vanilla Lampshade, and Almond with Raffia Lampshade. © After Hall 2024
To finish, we added two alternatives to adorn this piece. One handmade lampshade in natural raffia with knots, inspired by the baskets depicted in the artist's still lifes. And another in white cotton, ideal for those who prefer a more classic and gentle style.
Whether it’s lit up or not, it manages to evoke and bring to life environments like those portrayed in these canvases, while also seamlessly integrating into contemporary and bold contexts with its enthusiastic and irreverent presence inspired by Josefa's works.
DISCOVER THE JOSEFA COLLECTION
Cover image: Still life with flowers, sweets and cherries. 1676. Josefa de Óbidos. Oil on canvas. Biblioteca Municipal Braamcamp Freire de Santarém, Portugal. Source: Discover Baroque Art – Museum With No Frontiers (MWNF).