Abstract
The photographs by Marcel Gautherot documenting the sculptures of the Twelve Prophets, at Congonhas do Campo, attributed to Antonio Francisco Lisboa, the Aleijadinho, go beyond the purpose of recording the works. They also contribute to the writing of history, through the images produced. In accordance with the SPHAN orientation, which aimed to construct a Brazilian art history that valorized the artistic production of the colonial period, the images by Gautherot help in a decisive way to consolidate the Aleijadinho myth, not only for their documental significance and widespread circulation, but also for the regard the photographer develops about the works. The images direct the regard and build a discourse, through framing, lighting and point of views assumed, leading to the identity between the work photographed and its author.
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