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As principais tendências da pintura no Brasil colonial podem ser estudadas na Catedral de Salvador, a igreja do antigo Colégio da Companhia de Jesus. Datando dos finais do século XVII, várias séries de quadros de qualidade diversa, compõem com as esculturas dos altares um soberbo e complexo bel composto de propaganda inaciana. Para decorar o forro da Biblioteca, por cima da sacristia, os Jesuítas encomendaram cerca de 1735-1736 uma monumental quadratura ao pintor português António Simões Ribeiro (?-1755). A pintura é estudada em função da tradição de decoração das bibliotecas durante a época moderna. Para além da quadratura, Simões Ribeiro introduziu na arte brasileira as figuras alegóricas, tornando-se assim o primeiro pintor brasileiro verdadeiramente barroco e o criador da chamada Escola Bahiana. The main trends of the painting in colonial Brazil can be studied in the Cathedral of Salvador, Bahia, the church of the former Jesuit College. Dating from the late 17th Century, several cycles of paintings on the walls and the ceiling of the sacristy, of varying quality, accomplish particular symbolic functions; in conjunction with the sculpture of the altars, they compose a complex bel composto of Jesuit propaganda. To decorate the ceiling of their Library, above the sacristy, the Jesuits commissioned around 1735-1736 a huge quadratura from the Portuguese born painter António Simões Ribeiro (?-1755). This painting is discussed within the tradition of Library decoration in the Modern period. Besides the quadratura, Simões Ribeiro introduced in the Brazilian art the allegorical figures and became the first full-Baroque painter in Brazil and the initiator of the so-called Bahian School

Uma nota sobre ilusionismos e alegorias na pintura barroca de Salvador da Bahia