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Luiz Henrique Vieira OS CARTÕES FOTOGRÁFICOS OITOCENTISTAS

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Luiz Henrique Vieira OS CARTÕES FOTOGRÁFICOS OITOCENTISTAS Luiz Henrique Vieira OS CARTÕES FOTOGRÁFICOS OITOCENTISTAS NA CONSTRUÇÃO DA IDENTIDADE SO- CIAL DO RETRATADO E DA IDENTIDADE PROFISSIONAL DO FOTÓGRAFO Tese apresentada ao Programa de Pós-Graduação em Artes da Escola de Belas Artes da Universidade Federal de Minas Gerais, como requisito parcial à obtenção do título de Doutor em Artes. Linha de Pesquisa: Artes plásticas, visuais e interartes: manifestações artísticas e suas perspectivas históricas, teóricas e críticas. Orientadora: Prof.ª Drª Maria do Carmo de Freitas Veneroso Tutora no Estágio de Doutorado-sanduíche: Prof.ª Drª Andreea Lazea Belo Horizonte Escola de Belas Artes /UFMG 2019 0 1 2 O presente trabalho foi realizado com apoio da Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - Brasil (CAPES) - Código de Financiamento 001. Houve, inclusive, o apoio do Erasmus+ Programme que viabilizou o Estágio de Doutorado- sanduíche na Universitatea de Vest din Timișoara, na Romênia. 3 À memória de Walter Benjamin, com quem, mesmo tendo começado um relacio- namento conflituoso (o que não representa, ne- cessariamente, um mal sinal), acabei me enten- dendo muito bem. Obrigado por ter disparado em mim o desejo de investigar determinados retratos fotográficos oitocentistas. 4 Nos jardins des Tuilleries, cenas de orgia: embriagados quebravam o que viam pela frente. Os guarda-roupas foram abertos e o povo se vestiu de seda e ouro. O tro- no foi queimado em praça pública. Caía um rei [Luís Fe- lipe, o rei burguês] que era bom pai, bom marido, e em cuja família a burguesia se reconhecia. Mary de Priore, O castelo de papel. 5 RESUMO A proposta deste trabalho é investigar, através da perspectiva da história social da cul- tura, os cartões fotográficos – denominação dada a determinados retratos produzidos em estúdios, entre 1854 e 1920, que seguiam determinados padrões estéticos, envol- vendo a valorização da pose e do vestuário, e a ambientação do retratado em cenários de inspiração neoclássica. Esses cartões eram compostos pelo retrato (influenciado por cânones da retratística pictórica) e por informações (textuais e imagéticas) sobre o fotógrafo e seu estúdio. Partiu-se da hipótese de que esses retratos teriam servido de ferramenta na construção e na divulgação da identidade social do retratado (indiví- duos representantes das classes sociais emergentes naquele período), da mesma for- ma que que teriam servido de meio para a construção e divulgação da identidade pro- fissional do fotógrafo, considerando o recente surgimento desse ofício. Palavras-chaves: retrato; estúdio; século XIX; burguesia; pose; fotografia, identidade, fotógrafo. ABSTRACT The proposal of this work is to investigate, through the perspective of the social history of culture, the photographic cards - denomination given to certain portraits produced in studios, between 1854 and 1920, that followed certain aesthetic standards, involv- ing the appreciation of both the pose and clothing (appearance issues), and the setting of the portrayed in scenarios of neoclassical inspiration. These cards were composed by the portrait (influenced by canons of the pictorial portraiture) and by information (textual and imagery) about the photographer and his studio. The research was carried out from the hypothesis that these portraits had served as a tool in the construction and dissemination of the social identity of the portrayed (individuals representing the emerging social classes in that length of time), in the same way that served as a medi- um for the construction and disclosure of the professional identity of the photogra- pher, considering the recent emergence of this craft. Keywords: portrait; studio; XIX century; bourgeoisie; pose; photography, identity, pho- tographer. 6 ADVERTÊNCIA Padrão a ser adotado na elaboração das legendas das imagens. Deverão constar os seguintes dados, na seguinte ordem: 1- nome do autor; 2- título da obra, em itálico (de acordo com o idioma da fonte (autor, livro, site, etc.) de onde foi retirada a imagem; 3- dimensão (apenas para o caso de obras que não sejam cartões fotográficos, visto que estes possuem dimensões padronizadas); 4- país de origem (quando esta informação estiver disponível); 5- data de execução da obra. 7 LISTA DE FIGURAS Figura 1: Parte do meu acervo de fotografias oitocentistas. ...................................................... 16 Figura 2: Édouard Manet. L'automne (Portrait de Méry Laurent), 73 x 51 cm, 1882. ................ 44 Figura 3: Édouard Manet. La musique aux tuileries, 76 cm x 118 cm, 1862. .............................. 46 Figura 4: Édouard Manet. Detalhe da figura 3. .......................................................................... 47 Figura 5: Edouard Manet. Le Déjeuner sur l'herbe, 208 x 264 cm, 1863. ................................... 49 Figura 6: (esquerda): Marcantonio Raimondi. The Judgement of Paris (detalhe), 1515-16. (direita): Édouard Manet, Le Déjeuner sur l’herbe (detalhe da FIG. 5), 1863. ............................ 50 Figura 7: Gustave Caillebotte. Jeune homme à la fenêtre, 117 × 82 cm, 1876. .......................... 53 Figura 8: Jean Béraud. Boulevard Poissonnière en automne, 25,7 x 39 cm, c. 1880. ................. 55 Figura 9: Fotógrafo não identificado. Fotografia da Passage Vivienne, em Paris. ..................... 57 Figura 10: Charles Marville. Passage de l’Opéra. (esquerda): a galeria do relógio; (direita): a galeria do barômetro, c. 1866. .................................................................................................... 58 Figura 11: Adolphe Martial Potémont. l’entrée de la galerie du Baromètre, gravura em metal aguarelada, 38 x 28,6 cm, c. 1875. .............................................................................................. 59 Figura 12: Jean Béraud. Avenue Parisienne, 39,7 x 56,5 cm, s/d. ............................................... 63 Figura 13: (superior) Rudolf von Alt. Hans Makart’s studio in Gusshausstrasse, watercolour, (dimensão?), 1885. (inferior) Fotógrafo não identificado. Château de Ferrières, 35 x 44 cm, 1863-1868. .................................................................................................................................. 68 Figura 14: (esquerda): H. Davey. Cabinet portrait de mulher não identificada, Exeter, Inglaterra, s/d; (direita): John D. Strunk. Cabinet portrait de mulher não identificada, Reading, Pennsylvania, EUA, s/d. ............................................................................................................... 73 Figura 15: August Sander. Der Maler Anton Räderscheidt [O pintor Anton Räderscheidt], Köln, 1927. ............................................................................................................................................ 76 Figura 16: William Edward Kilburn. View of the Great Chartist Meeting on Kennington Common, daguerreótipo, 10,7 x 14,7 cm, 1848. ......................................................................... 78 Figura 17: Jean Auguste Dominique Ingres. Josephine-Eleonore-Marie-Pauline de Galard de Brassac de Bearn, Princesse de Broglie, 121,3 x 90,8 cm, 1853. ................................................. 82 Figura 18: Federico de Madrazo. Amalia de Llano y Dotres, condessa de Vilches, 126 x 89 cm, 1853. ............................................................................................................................................ 85 Figura 19: Oscar Rejlander. Two Ways of Life, 1857. .................................................................. 95 Figura 20: Henry Peach Robinson. Sleep, 1867. .......................................................................... 96 Figura 21: Claude Monet. Boulevard des Capucines, 80,3 x 60,3 cm (à direita, um detalhe). ... 98 8 Figura 22: Bastos Dias. Boudoir card do Sr. Souza, Rio, 1902. 2: Santos Moreira. Cabinet portrait de Laura Amélia Braga, Rio, 1894. 3: Fotógrafo não Identificado. Stamp card de jovem não identificado, EUA, s/data. 4: Christiano Junior & Pacheco. Carte-de-visite de homem não identificado, Rio, 1866-76. ........................................................................................................ 103 Figura 23: Justiniano José de Barros. Frente e verso de carte-de-visite de Maria Joaquina da Costa Botêlho de Magalhães e filhas, 1867. ............................................................................. 109 Figura 24: Homisch L. István. Cabinet portrait de senhora segurando retrato e jornal, Arad, Romênia, s/d. ............................................................................................................................ 110 Figura 25: Fotógrafo e modelos não identificados. Frente e verso de colagem de dois cartes-de- visite (sendo um colado no verso do outro). Itália, c. 1870. ..................................................... 113 Figura 26: Olindo Belém. Cabinet portrait de Guimarães Passos e do Governador Augusto de Lima, Belo Horizonte, 1ª década do século XX. ........................................................................ 115 Figura 27: Fotógrafo não identificado. Paul Grimmelsmann Amateur Komiker [Paul Grimmelsmann, comediante amador], Alemanha(?), c.1900. .................................................. 116 Figura 28: J. Menezes. [Homens com deformidades nos membros inferiores e posterior recuperação: portrait 2], cabinet portrait, [188-]. .................................................................... 118 Figura 29: Magrin. Carte-de-visite de homem inominado, Constanța, Romênia, s/d. .............. 119 Figura 30: D. L. Schröder Photograph.
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