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Histories of Nineteenth-Century Brazilian
Perspective Actualité en histoire de l’art 2 | 2013 Le Brésil Histories of nineteenth-century Brazilian art: a critical review of bibliography, 2000-2012 Histoires de l’art brésilien du XIXe siècle : un bilan critique de la bibliographie, 2000-2012 Histórias da arte brasileira do século XIX: uma revisão critica da bibliografia Geschichten der brasilianischen Kunst des 19. Jahrhunderts : eine kritische Bilanz der Bibliographie, 2000-2012 Storie dell’arte brasiliana dell’Ottocento: un bilancio critico della bibliografia, 2000-2012 Historias del arte brasileño del siglo XIX: un balance crítico de la bibliografía, 2000-2012 Rafael Cardoso Electronic version URL: http://journals.openedition.org/perspective/3891 DOI: 10.4000/perspective.3891 ISSN: 2269-7721 Publisher Institut national d'histoire de l'art Printed version Date of publication: 31 December 2013 Number of pages: 308-324 ISSN: 1777-7852 Electronic reference Rafael Cardoso, « Histories of nineteenth-century Brazilian art: a critical review of bibliography, 2000-2012 », Perspective [Online], 2 | 2013, Online since 30 June 2015, connection on 01 October 2020. URL : http://journals.openedition.org/perspective/3891 ; DOI : https://doi.org/10.4000/ perspective.3891 Histories of nineteenth-century Brazilian art: a critical review of bibliography, 2000-2012 Rafael Cardoso The history of nineteenth-century Brazilian art has undergone major changes over the first years of the twenty-first century. It would be no exaggeration to say that more has been done in the past twelve years than in the entire preceding century, at least in terms of a scholarly approach to the subject. A statement so sweeping needs to be qualified, of course, and it is the aim of the present text to do just that. -
Group Exhibition at Pina Estação Brings Together Works Which Allude to Fictions About the Origin of the World
Group exhibition at Pina Estação brings together works which allude to fictions about the origin of the world Experimental works by Antonio Dias, Carmela Gross, Lothar Baumgarten, Solange Pessoa and Tunga suggest cosmogonic narratives Opening: November 10th, 2018, Saturday, at 11 am Visitation: until February 11th, 2019 Pinacoteca de São Paulo, museum of the São Paulo State Secretariat of Culture, presents, from November 10th, 2018 to February 11th, 2019, the exhibition Invention of Origin, on the fourth floor of Pina Estação. With curatorship by Pinacoteca's Nucleus of Research and Criticism and under general coordination of José Augusto Ribeiro, the museum curator, the group exhibition takes as the starting point the film The Origin of the Night: Amazon Cosmos (1973-77), by the German artist Lothar Baumgarten. The film, rarely exhibited, will be presented alongside a selection of works by four Brazilian artists — Antonio Dias, Carmela Gross, Solange Pessoa and Tunga. In common, the selected works allude to primordial times and actions which could have contributed to the narratives about the origin of life. Shot on 16 mm between 1973 and 1977, The Origin of the Night: Amazon Cosmos, by Lothar Baumgarten, is based on a Tupi myth, registered by the French anthropologist Claude Lévi-Strauss, on the origin of the night — which, according to the narrative, used to “sleep” under waters, when animals still did not exist and things had the power of speech. From images captured in the Reno River, between Dusseldorf and Cologne, the artist creates ambiguous situations. “The images are paradoxical, they show a kind of virgin forest in which, however, the waste of human civilization is spread. -
Os Panoramas Perdidos De Victor Meirelles Aventuras De Um Pintor Acadêmico Nos Caminhos Da Modernidade
OS PANORAMAS PERDIDOS DE VICTOR MEIRELLES AVENTURAS DE UM PINTOR ACADÊMICO NOS CAMINHOS DA MODERNIDADE MÁRIO CÉSAR COELHO FLORIANÓPOLIS – SC 2007 ii UNIVERSIDADE FEDERAL DE SANTA CATARINA CENTRO DE FILOSOFIA E CIÊNCIAS HUMANAS PROGRAMA DE PÓS-GRADUAÇÃO EM HISTÓRIA OS PANORAMAS PERDIDOS DE VICTOR MEIRELLES AVENTURAS DE UM PINTOR ACADÊMICO NOS CAMINHOS DA MODERNIDADE Tese apresentada como requisito parcial para a obtenção do título de Doutor em História pela Universidade Federal de Santa Catarina. MÁRIO CÉSAR COELHO Orientadora: Profa Dra Maria Bernardete Ramos Flores (UFSC) Co-orientador: Prof. Dr. Jacques Leenhardt (EHESS/PARIS) FLORIANÓPOLIS – SC 2007 iii OS PANORAMAS PERDIDOS DE VICTOR MEIRELLES AVENTURAS DE UM PINTOR ACADÊMICO NOS CAMINHOS DA MODERNIDADE MÁRIO CÉSAR COELHO Tese apresentada e aprovada em sua forma final para a obtenção do título de DOUTOR EM HISTÓRIA CULTURAL Florianópolis, 29 de maio de 2007. iv A esposa Beatriz Shiozawa Aos filhos, Julia, Gabriel e Rodrigo. v AGRADECIMENTOS À Professora Maria Bernardete Ramos Flores, orientadora que acreditou nos rumos da pesquisa que me fizeram chegar aos Panoramas. Ao Professor Jacques Leenhardt, da École des Hautes Études en Sciences Sociales, que apontou direções aos caminhos da modernidade nos Panoramas. Aos professores da Qualificação, Paulo Knauss, pelas sugestões valiosas e Henrique Espada R. Lima Filho, pela leitura crítica. Aos integrantes da Banca Examinadora, professoras Sandra Jatahy Pesavento, Maria de Fátima Fontes Piazza e Sandra Makowiecky, pelas leituras atenciosas e ao Professor Henrique Pereira Oliveira. Aos colegas professores do Departamento de Expressão Gráfica da UFSC. À Professora Eliane Considera, que gentilmente disponibilizou material de pesquisa. Aos professores Raúl Antelo, Rosângela Cherem, Cynthia Machado Campos, pelas indicações de leituras e ao Professor Jorge Coli, que inspirou um pouco este trabalho por meio de seus textos. -
Celso Furtado As 'Romantic Economist'from Brazil's Sertão
Brazilian Journal of Political Economy, vol 39 , nº 4 (157), pp 658-674, October-December/2019 Celso Furtado as ‘Romantic Economist’ from Brazil’s Sertão Celso Furtado como Economista Romântico do Sertão JONAS RAMA* JOHN BATTAILE HALL** RESUMO: Em The Romantic Economist (2009), Richard Bronk lamenta que o pensamento iluminista tenha dominado a economia durante sua formação como ciência. O “Movimen- to Romântico” seria um contraponto, mas foi mantido distante. A economia abraçou a cen- tralidade da racionalidade e preceitos iluministas, tornando-se uma “física-social”. Desde então, as características humanas como sentimento, imaginação e criatividade são evitadas. Embora Bronk não identifique um economista “romântico” de carne e osso, nossa pesquisa busca estabelecer Celso Furtado como um. Profundamente influenciado por sua sensibili- dade e raízes, Furtado fez uso de uma metáfora orgânica – o sertão nordestino – em seu entendimento de complexos processos de desenvolvimento. PALAVRAS-CHAVE: Brasil; Celso Furtado; Richard Bronk; movimento romântico; sertão. ABSTRACT: In The Romantic Economist (2009), Richard Bronk laments that Enlighten- ment thinking dominated Economics during its formation as a science. As counterpoint, the ‘Romantic Movement’ had much to offer but remained peripheral. Consequently Economics embraced the centrality of rationality and other Enlightenment precepts, leading to a ‘social- physics’. Meanwhile human characteristics such; as sentiments, imagination and creativ- ity were eschewed. While Bronk fails to identify an in-the-flesh ‘Romantic Economist’, our inquiry seeks to establish that indeed Celso Furtado qualifies. Profoundly influenced by his sensitivities and attachment to place, Furtado relies upon an organic metaphor – o sertão nordestino – for insights into complex developmental processes. KEYWORDS: Brazil; Celso Furtado; Richard Bronk; romantic movement; sertão. -
Fire, Corruption and the Political Neglect Destroying Part of Brazilian Art and History
December 2018 West East Journal of Social Sciences- Volume 7 Number 3 FIRE, CORRUPTION AND THE POLITICAL NEGLECT DESTROYING PART OF BRAZILIAN ART AND HISTORY: THE GENERAL SITUATION AND THE SPECIFIC CASE OF RODOLPHO AMOÊDO’S DECORATIVE PAINTING Leandro Brito de Mattos Instituto Federal de Roraima (Federal Institute of Roraima), Brazil Abstract At the beginning of XX century some Brazilian cities tried to renovate their architecture by emulating a Parisian atmosphere and that included the painting decoration for public buildings. Rodolpho Amoêdo was one of the famous Brazilian artists of that time commissioned to decorate several public buildings. However now, around 100 years later, the institutions that houses these paintings have a lack of information about them and some of these paintings are suffering because of bad preservation. This situation might be explaining in part by the political and economic crises Brazil have been facing since 2015. This paper will highlight this connection. Keywords: Brazilian art, Rodolpho Amoêdo, Art history, Decorative painting. 1. Introduction: This is a study about the actual situation of the decorative work the Brazilian painter Rodolpho Amoêdo has done for some public buildings on several Brazilian states. Analyzing the conservation state of these paintings, historical documents about them and the posture of the institutions where we find them we can realize a connection with Brazilian politics: Some paintings need restoration and some need more studies about them; Brazil faces a several political crises with strong economic effects and the authorities doesn’t act as if culture is a relevant matter. The government funding for culture has been reduced to something close to zero and some catastrophic events are happening. -
Universidade Federal Do Rio De Janeiro Centro De Letras E Artes Escola De Belas Artes Departamento De História E Teoria Da Arte
UNIVERSIDADE FEDERAL DO RIO DE JANEIRO CENTRO DE LETRAS E ARTES ESCOLA DE BELAS ARTES DEPARTAMENTO DE HISTÓRIA E TEORIA DA ARTE ANNA CAROLINA CARLOTA MIRES O ARTISTA NEGRO NA ACADEMIA IMPERIAL DE BELAS ARTES: O Legado de Estevão da Silva Rio de Janeiro, 2019 ANNA CAROLINA CARLOTA MIRES O ARTISTA NEGRO NA ACADEMIA IMPERIAL DE BELAS ARTES: O Legado de Estevão da Silva Trabalho de Conclusão de Curso apresentado à Escola de Belas Artes da Universidade Federal do Rio de Janeiro, como parte dos requisitos necessários à obtenção do grau de bacharel em História da Arte. Orientadora: Patricia Leal Azevedo Corrêa Rio de Janeiro, 2019 MIRES, Anna Carolina Carlota. O artista negro na Academia Imperial de Belas Artes: O Legado de Estevão da Silva. Rio de Janeiro, 2019. Trabalho de conclusão de curso (Bacharelado em História da Arte) – Escola de Belas Artes, Universidade Federal do Rio de Janeiro, Rio de Janeiro. RESUMO Estudo da presença e atividade de artistas negros no Brasil do século XIX, especialmente no contexto da Academia Imperial de Belas Artes, a partir da perspectiva racial que forjou este século e impactou diretamente na vida dos artistas negros. Busca-se ressaltar fatos que foram omitidos pelo olhar da história da arte e são relevantes para uma compreensão verossímel desse período. O caso do pintor Estevão da Silva (1844 - 1891) marcou a cena artística carioca no gênero natureza morta e na vanguarda dos pintores da época. Palavras-chave: Afroperspectivismo; AIBA; Artista Negro; Estevão da Silva; Racismo. AGRADECIMENTOS Laroyê Exu! Gratidão aos senhores e senhoras do caminho e da comunicação por me guiarem nessa caminhada! Tenho a convicção de que as palavras escritas aqui não darão conta da dimensão do sentimento de gratidão que tenho por cada pessoa que me ajudou a chegar nesse lugar. -
Afro-Brazilian Religious Suppression in 1920S and 1930S Rio De Janeiro Brittney Teal-Cribbs Western Oregon University, [email protected]
Western Oregon University Digital Commons@WOU Student Theses, Papers and Projects (History) Department of History Fall 2012 Afro-Brazilian Religious Suppression in 1920s and 1930s Rio de Janeiro Brittney Teal-Cribbs Western Oregon University, [email protected] Follow this and additional works at: https://digitalcommons.wou.edu/his Part of the History Commons, and the Latin American Languages and Societies Commons Recommended Citation Teal-Cribbs, Brittney L. "Afro-Brazilian Religious Suppression in 1920s and 1930s Rio de Janeiro." Department of History Capstone paper, Western Oregon University, 2012. This Paper is brought to you for free and open access by the Department of History at Digital Commons@WOU. It has been accepted for inclusion in Student Theses, Papers and Projects (History) by an authorized administrator of Digital Commons@WOU. For more information, please contact [email protected]. 1 Afro-Brazilian Religious Suppression in 1920s and 1930s Rio de Janeiro Britney Teal-Cribbs HST 600 Brazil and Chile Seminar Professor John Rector December 12, 2012 2 INTRODUCTION Pinning down the history of any religion proves, at the best of times, elusive. In the case of Afro-Brazilian religions, it becomes nearly impossible. Not only have African religious customs blended with those of European and Indigenous religions over time, but those new, syncretic forms have themselves snaked around, emphasizing varying components, adding new ones, and shifting away from others. It is into these turbulent waters that this paper wades, by first looking at the history of scholarship surrounding Afro-Brazilian religions, and then turning to look at some of the social forces and challenges that Afro-Brazilian religions faced in Rio de Janeiro from the mid-1920s through the 1930s and the dictatorship of Getúlio Vargas, which emerged in 1930 and influenced all aspects of Brazilian life. -
Art's Complicity
Papers on Social Representations Volume 26, Issue 1, pages 6.1-6.15 (2017) Peer Reviewed Online Journal ISSN 1021-5573 © 2017 The Authors [http://www.psych.lse.ac.uk/psr/] Art’s Complicity JORGE COLI University of Campinas ABSTRACT In the course of its history, the artistic culture fashioned in Brazil has rebuffed direct observation. In the country’s domain of the visual arts and literature, artists, intellectuals and writers tend to cloister in an imaginary world, without seeing their own surroundings. Some of the significant works in the history of Brazilian art and culture have been taken into account in this paper. The works described here in a synthetic and simplified manner reiterated myths, arranged hierarchies, established preconceptions and concealed perceptions for the benefit of imaginaries that were not all that innocent. One can easily see that, in the course of its history, the artistic culture fashioned in Brazil has rebuffed direct observation. In the country’s domain of the visual arts and literature, artists, intellectuals and writers tend to cloister in an imaginary world, with no eyes for their own surroundings. Correspondence should be addressed to: Jorge Coli, Email: [email protected] 6.1 J. Coli Art’s Complicity Although rather generic and simplified, this initial comment sheds light on certain fundamental characteristics that historically have been associated with Brazil’s art history and production. These characteristics are linked to ideological tenets involving national identity and original roots. They comprise fictions, constructs and fantasies that definitively affect not only individual and group perceptions and expectations, but also ways of thinking and conceiving the world. -
Brazilian Education and Culture : Historic Development. Mathilde B
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-1993 Brazilian education and culture : historic development. Mathilde B. Jorge University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Jorge, Mathilde B., "Brazilian education and culture : historic development." (1993). Doctoral Dissertations 1896 - February 2014. 4992. https://scholarworks.umass.edu/dissertations_1/4992 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. BRAZILIAN EDUCATION AND CULTURE: HISTORIC DEVELOPMENT A Dissertation Presented by MATHILDE B. JORGE Submitted to the Graduate School of the University of Massachusetts in partial fulfillment of the requirements for the degree of DOCTOR OF EDUCATION February 1993 School of Education © Copyright by Mathilde B. Jorge 1993 All Rights Reserved BRAZILIAN EDUCATION AND CULTURE: HISTORIC DEVELOPMENT A Dissertation Presented by MATHILDE B. JORGE Approved as to style and content by /Jose N. Ornelas, Member To My parents, Benedicto and Maria Lourdes da Silva, who I have admired and loved and who have been a source of inspiration; My children, Marina and Fernando Barbosa Jorge, whose unconditional love, support, and encouragement have contributed to my being able to complete this work; My husband, Fernando A. A. Jorge, who has provided limitless patience, love, support, and devotion throughout the pursuit of my educational endeavors; My dearest friend, Helen Trotman, who helped me step-by-step in my educational career, who would not allow me to give up this effort, and who provided constant support and advice (always with a smile); My sister-in-law, Marina Serra B. -
Chapter.11.Brazilian Cdr.Cdr
BRAZIL Chapter 11 Art, Literature and Poetry Brazil was colonized by Portugal in the middle of the 16th century. In those early times, owing to the primitive state of Portuguese civilization there, not much could be done in regard to art expression. The original inhabitants of the land, pre-Columbian Indigenous peoples, most likely produced various forms of art, but very little is known about this. Little remains, except from elaborate feather items used as body adornments by all different tribes and specific cultures like the Marajoara, who left sophisticated painted pottery. So, Brazilian art - in the Western sense of art - began in the late 16th century and, for the greater part of its evolution until early 20th century, depended wholly on European standards. 170 BRAZIL Pre-Columbian traditions Main article: Indigenous peoples in Brazil Santarém culture. Museu Paraense Emílio Goeldi Bororo Indian with feather headdress and body painting 171 BRAZIL The oldest known art in Brazil is the cave paintings in Serra da Capivara National Park in the state of Piauí, dating back to c. 13,000 BC. More recent examples have been found in Minas Gerais and Goiás, showing geometric patterns and animal forms. One of the most sophisticated kinds of Pre- Columbian artifact found in Brazil is the sophisticated Marajoara pottery (c. 800–1400 AD), from cultures flourishing on Marajó Island and around the region of Santarém, decorated with painting and complex human and animal reliefs. Statuettes and cult objects, such as the small carved-stone amulets called muiraquitãs, also belong to these cultures. The Mina and Periperi cultures, from Maranhão and Bahia, produced interesting though simpler pottery and statuettes. -
Tomie Ohtake
tefaf online new york tomie ohtake november 1–4, 2020 register for tefaf online Tomie Ohtake (1913–2015) was born in Kyoto, Japan, and moved to Brazil in 1936, where she became one of the main representatives of abstract art in the country. Her career as an artist began at the age of 37, when she became a member of the Seibi group, which brought together artists of Japanese descent in Brazil. In the late 1950s, leaving behind an initial phase of figurative studies in painting, she immersed herself into abstract explorations. Watch the video COVER Tomie Ohtake. Untitled, 1964 [detail] THIS PAGE Tomie Ohtake in her studio, São Paulo, Brazil Tomie Ohtake’s 1964 painting Sem Título [Untitled] was created following a period of emblematic experimentations that were coined by art critic Mario Pedrosa as blind paintings, marking the artist’s initial experiments in abstraction. In these works, the artist would blindfold herself and paint abstract shapes characterized by spontaneity and fluidity;Sem título—being subsequent to this phase—displays remnants of an impulsive process, entwined with newfound geometric and structured forms. Sem Título embodies Ohtake’s investigative oscillation between abstraction’s possibilities—it displays condensed, defined shapes, dense colors, a distinct use of a foreground and a background while the outlines remain blurred, the shapes slanted and the whole appears ripped, as if a page had been torn. Interestingly, at that point in time, the artist had begun to produce small- scale studies using colored paper from magazines which she literally tore with her hands. Ohtake would rip shapes from publications and juxtapose them into compositions, then transposing them into large-format paintings. -
Modernisms Brochure Web.Pdf
Transregional Academy Academy Venue: Universidade Federal de São Paulo, Rua Sena Madureira, 1500 - Vila Clementino São Paulo, Brasil Hotel: Bienal Suites Rua Sena Madureira, 1225 - Ibirapuera São Paulo, Brasil Contact Forum Transregionale Studien Wallotstraße 14 14193 Berlin Tel. +49 30 89001-430 Fax +49 30 89001-440 [email protected] www.forum-transregionale-studien.de Tarsila do Amaral, Opérarios, Copyright: 1933, Acervo do Governo do Estado de São Paulo, oil on canvas, 150cm x 205cm Transregional Academy 16—24 July 2016 Modernisms São Paulo Concepts, Contexts, and Circulation Program and Abstracts Editor: Forum Transregionale Studien e.V. Corporate Design: Plural | Severin Wucher, Berlin © 2016 Forum Transregionale Studien 3 4 Contents Concept Note ......................................................................... 6 Program ................................................................................... 7 Participants and Projects ................................................... 17 Working Groups ..................................................................... 37 Steering Committee and Speakers .................................. 40 Reading List ............................................................................. 47 Institutional Framework ...................................................... 50 5 6 Concept Note Modernisms: Concepts, Contexts, and Circulation Transregional Academy 16—24 July 2016, São Paulo The goal of the academy is to facilitate an exchange on concepts and varia- tions of modernism