Curriculum Vitae Ana Lucia Araujo
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Camila Dazzi1 - [email protected]
Anais II Encontro Nacional de Estudos da Imagem 12, 13 e 14 de maio de 2009 Londrina-PR IMAGENS DO EMININO NO COTIDIANO DA ANTIGA ROMA A PRODUÇÃO DOS ARTISTAS BRASILEIROS Camila Dazzi1 - [email protected] Resumo: Que relações nós poderíamos estabelecer entre o artistas brasileiros, como Henrique Bernardelli, Pedro Weingärtner, Zeferino da Costa e Lawrwnce Alma-Tadema, um dos mais celebrados pintores do século XIX? Para respondermos a essa e a outras perguntas precisamos compreender o meio artístico no qual ambos estiveram imersos: a Itália de finais do oitocentos. O presente trabalho busca compreender a inserção dos artistas brasileiros em um significativo grupo de pintores, escultores e literatos, italianos e estrangeiros como Tedema, que, atuantes em Roma e Nápoles a partir de meados do século XIX, se voltaram para Pompéia, e mais amplamente para a antiga Roma, em busca de temas para as suas produções artísticas, conhecidas genericamente como neo-pompeianas. Palavras-chave: Pintura Neo-pompeiana, Relações artísticas Brasil-Itália, Pintura século XIX Abstract: What relations could be established between the Brazilian artists as Henrique Bernardelli, Pedro Weingärtner, Zeferino da Costa and Lawrence Alma-Tadema, one of the most celebrated painters of 19th century? To answer this and other questions we need to understand the artistic context in which both were immersed: the Italy of the end of the 800. The present paper tries to understand the insertion of this artists in a significant group of painters, sculptors and men of letters, Italians and foreigners as Alma-Tadema, that, operating in Rome and Naples in the middle of 19th century, turned their attentions to Pompeii and, more generically, to the old Rome, in search of subjects for their so-called neo-pompeian productions. -
Natália Cristina De Aquino Gomes
UNIVERSIDADE FEDERAL DE SÃO PAULO ESCOLA DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS PROGRAMA DE PÓS-GRADUAÇÃO EM HISTÓRIA DA ARTE NATÁLIA CRISTINA DE AQUINO GOMES RETRATO DE ARTISTA NO ATELIÊ: a representação de pintores e escultores pelos pincéis de seus contemporâneos no Brasil (1878-1919) Guarulhos 2019 NATÁLIA CRISTINA DE AQUINO GOMES RETRATO DE ARTISTA NO ATELIÊ: a representação de pintores e escultores pelos pincéis de seus contemporâneos no Brasil (1878-1919) Dissertação de Mestrado apresentada ao Programa de Pós-Graduação em História da Arte da Universidade Federal de São Paulo para obtenção do título de Mestre em História da Arte. Orientadora: Profª. Drª. Elaine Cristina Dias. Guarulhos 2019 2 AQUINO GOMES, Natália Cristina de. Retrato de artista no ateliê: a representação de pintores e escultores pelos pincéis de seus contemporâneos no Brasil (1878-1919)/ Natália Cristina de Aquino Gomes. – Guarulhos, 2019. 250 f. Dissertação (mestrado em História da Arte) – Universidade Federal de São Paulo, Escola de Filosofia, Letras e Ciências Humanas, Programa de Pós-Graduação em História da Arte, 2019. Orientadora: Profª. Drª. Elaine Cristina Dias. Título em inglês: Portrait of artist in the studio: the representation of painters and sculptors by the brushes of their contemporaries in Brazil (1878-1919). 1. Retrato. 2. Ateliê. 3. Arte Brasileira. 4. Século XIX. 5. Início do século XX. I. Dias, Elaine Cristina. II. Universidade Federal de São Paulo, Escola de Filosofia, Letras e Ciências Humanas, Programa de Pós-Graduação em História da Arte. III. Título. 3 NATÁLIA CRISTINA DE AQUINO GOMES RETRATO DE ARTISTA NO ATELIÊ: a representação de pintores e escultores pelos pincéis de seus contemporâneos no Brasil (1878-1919) DISSERTAÇÃO apresentada ao Programa de Pós- Graduação em História da Arte da Universidade Federal de São Paulo para obtenção do título de MESTRE EM HISTÓRIA DA ARTE. -
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. -
Os Usos E a Produção De Retratos Pintados Por Pedro Weingärtner (Século XIX E XX)
DOI: 10.5752/P.2237-8871.2019v.19n.31p.123 Os usos e a produção de retratos pintados por Pedro Weingärtner (Século XIX e XX) The uses and production of portraits painted by Pedro Weingärtner (19th and 20th centuries) Cyanna Missaglia de Fochesatto1 Resumo A presente pesquisa tem como objetivo analisar alguns retratos produzidos pelo artista gaúcho Pedro Weingärtner entre os séculos XIX e XX, nas suas idas e vindas entre Brasil e Europa. O artigo tem a finalidade de compreender a função dos retratos no processo produtivo de Weingärtner para além de questões mercadológicas, mas também entendê-la como uma forma de manutenção dos vínculos e redes sociais, especialmente, em momentos de troca de regime político no Brasil, como no caso da transição da Monarquia para a República. Investiga-se o uso feito pelo artista dos retratos que ele representou, bem como a importância dessa prática pictórica como um meio de demonstrar determinado status social entre elite política e social, seja ela no Brasil ou na Europa. Palavras-chave: Pintura; Retrato; Pedro Weingärtner. Abstract The present research aims to analyze some portraits produced by the gaucho artist Pedro Weingärtner between the 19th and 20th centuries, during his comings and goings between Brazil and Europe. We aim to understand the role of portraits in Weingärtner's production process, in addition to market issues, but also as a way of maintaining social ties and networks, especially at times of political regime change in Brazil, as in the case of Transition from the Monarchy to the Republic. The use made by the artist of the portraits that he represented is investigated, as well as the importance of this pictorial practice as a way to demonstrate certain social status between the political and social elite, be it in Brazil or in Europe. -
Victims and Perpetrators in the South Atlantic. Ana Lucia Araujo
352 Book Reviews Public Memory of Slavery: Victims and Perpetrators in the South Atlantic. Ana Lucia Araujo. Amherst NY: Cambria Press, 2010. xxii + 478 pp. (Cloth US$ 134.99) After decades of research and debates on the history of slavery and the slave trade and on the cultural links between Africa and the Americas, and fruitful theoretical developments on memory, remembrance, the invention of traditions, and public history, the time was ripe for a discussion on the public memory of slavery. Ana Lucia Araujo, Associate Professor of History at Howard University, chose Brazil and Benin to demonstrate the potential of the topic. The theme is developed in broad terms and in long descriptive sections. The first chapter is dedicated to an overview of the Atlantic slave trade and slavery in the Americas. However, the ambition to cover such complex and frequently renovated fields resulted in simplification and failure to connect to the theme of the book. The second chapter deals with the emer- gence of memory of the slave trade and slavery by surveying the intellectual and social movements against racism and the initiatives to memorialize the past in the twentieth century. Some commonplace statements are mixed in with interesting insights. The discussion of the use of Gorée island as a “lieu de mémoire” explores quite well the contradiction between its rela- tive insignificance during the slave trade and the attention it receives now. One complex question is missed: why did communist regimes in Africa choose to ignore race and slavery in their otherwise elaborate public mem- ory construction? At this point, readers will realize that the questions driv- ing the book emerge largely from the Anglophone debate on race and fail to take into account local—Beninese, Brazilian—perspectives that would render the discussion more complex and authentic. -
Slave Revolts and the Abolition of Slavery: an Overinterpretation João Pedro Marques
Part I Slave Revolts and the Abolition of Slavery: An Overinterpretation João Pedro Marques Translated from the Portuguese by Richard Wall "WHO ABOLISHED SLAVERY?: Slave Revolts and Abolitionism, A Debate with João Pedro Marques" Edited by Seymour Drescher and Pieter C. Emmer. http://berghahnbooks.com/title/DrescherWho "WHO ABOLISHED SLAVERY?: Slave Revolts and Abolitionism, A Debate with João Pedro Marques" Edited by Seymour Drescher and Pieter C. Emmer. http://berghahnbooks.com/title/DrescherWho INTRODUCTION t the beginning of the nineteenth century, Thomas Clarkson por- Atrayed the anti-slavery movement as a river of ideas that had swollen over time until it became an irrepressible torrent. Clarkson had no doubt that it had been the thought and action of all of those who, like Raynal, Benezet, and Wilberforce, had advocated “the cause of the injured Afri- cans” in Europe and in North America, which had ultimately lead to the abolition of the British slave trade, one of the first steps toward abolition of slavery itself.1 In our times, there are several views on what led to abolition and they all differ substantially from the river of ideas imagined by Clarkson. Iron- ically, for one of those views, it is as if Clarkson’s river had reversed its course and started to flow from its mouth to its source. Anyone who, for example, opens the UNESCO web page (the Slave Route project) will have access to an eloquent example of that approach, so radically opposed to Clarkson’s. In effect, one may read there that, “the first fighters for the abolition -
The Slave Route La Ruta Del Esclavo
La route de l’esclave G The Slave Route G La Ruta del Esclavo NEWSLETTER No. 1 - September 2000 EDITORIAL S history’s first system of globalization, the transatlantic Aslave trade and the slavery born of that trade constitute the invisible substance of relations between Europe, Africa, the Americas and the West Indies. In view of its human cost (tens of millions of victims), the ideology that subtended it (the intellectual construction of cultural contempt for Africans, and hence the racism that served to justify the buying and selling of human beings as, according to the definition of the French Code Noir, “chattel”), and the sheer scale of the economic, social and cultural destructuring of the African continent, that dramatic episode in the history of humanity demands that we re-examine the reasons for the historical silence in which it has for so long been swathed. In this matter it is vital to respond to the claim voiced by Nobel Prize winner Elie Wiesel Revolt and rebellion: that “the executioner always kills twice, the second time through the other side of the slave trade and slavery. silence”. Collection UNESCO: The Slave Route Hence, the issues at stake in the Slave Route project are essentially: Historical truth, peace, development, human rights, Contents: memory, intercultural dialogue. Background and objectives The challenge that this project, whose approach is resolutely of the project 2 scientific, has set the international community is to link the Structure 2 historical truth concerning a tragedy that has been wilfully masked Institutional meetings 3 to the concern to illuminate the intercultural dialogue born of the Activities and special events 3 enforced encounter between millions of Africans, Amerindians and Europeans in the Americas and West Indies, as well as in those Financing 6 overlooked areas of slavery, the Mediterranean and the Indian Cooperation with the media 6 Ocean. -
A Resource Book for Managers of Sites and Itineraries of Memory a UNESCO Endeavor the Slave Route: Resistance, Liberty, Heritage
A Resource book for Managers of Sites and Itineraries of Memory A UNESCO Endeavor The Slave Route: Resistance, Liberty, Heritage 2018 At the suggestion of Haiti and the African countries, UNESCO launched the Slave Route Project in September 1994 in Ouida, Benin, to break the silence on the subject of human trafficking from Africa, slavery and its abolition in various regions of the world. The main objective of the project is to contribute to a better understanding of the deep-seated causes of slavery, its forms of operation, its consequences on modern societies, in particular the global transformations and cultural interactions among peoples affected by this tragedy. The Project was implemented through five immediate objectives: research, development of pedagogical tools, preservation of documents and oral traditions, promotion of living cultures and the diverse contributions of African diaspora and promotion of sites and itineraries of memory. The Slave Route Project: Resistance, Liberty, Heritage have contributed to the acknowledgement of the slave trade and slavery as ‘crimes against humanity’ – World Conference against Racism, Racial Discrimination, Xenophobia and Related Intolerance, Durban (South Africa, 2001) – and the proclamation of the International Decade for people of African descent (2015-2024) on the theme of “Recognition, Justice and Development”, by the UN General Assembly. The UNESCO’s Slave Route Project encourages States not only to identify, asses, restore, preserve and promote their memorial sites and itineraries, but also to identify the heritage sites considered to be of Outstanding Universal Value. In recent decades, several needs have emerged that require a broadening of the fields of study, a new dynamic of memory spaces, concrete and precise answers in the fields of historical research and heritage conservation. -
Universidade De São Paulo Escola De Comunicações E Artes
UNIVERSIDADE DE SÃO PAULO ESCOLA DE COMUNICAÇÕES E ARTES FREDERICO FERNANDO SOUZA SILVA Arthur Azevedo: o crítico de arte como colecionador / o colecionador como crítico de arte São Paulo 2016 FREDERICO FERNANDO SOUZA SILVA Arthur Azevedo: o crítico de arte como colecionador / o colecionador como crítico de arte Tese apresentada ao Programa de Pós-Graduação em Artes Visuais da Escola de Comunicações e Artes da Universidade de São Paulo para obtenção do título de Doutor em Artes. Área de Concentração: Teoria, Ensino e Aprendizagem da Arte Linha de Pesquisa: História, Crítica e Teoria da Arte Orientador: Prof. Dr. Domingos Tadeu Chiarelli São Paulo 2016 Autorizo a reprodução e divulgação total ou parcial deste trabalho, por qualquer meio convencional ou eletrônico, para fins de estudo e pesquisa, desde que citada a fonte. Catalogação na Publicação Serviço de Biblioteca e Documentação Escola de Comunicações e Artes da Universidade de São Paulo Dados fornecidos pelo(a) autor(a) Silva, Frederico Fernando Souza Arthur Azevedo: o crítico de arte como colecionador / o colecionador como crítico de arte / Frederico Fernando Souza Silva. -- São Paulo: F. F. S. Silva, 2016. 362 p.: il. Tese (Doutorado) - Programa de Pós-Graduação em Artes Visuais - Escola de Comunicações e Artes / Universidade de São Paulo. Orientador: Domingos Tadeu Chiarelli Bibliografia 1. Arthur Azevedo 2. Crítica de arte 3. Colecionismo 4. Século XIX 5. História da Arte I. Chiarelli, Domingos Tadeu II. Título. CDD 21.ed. – 700 SILVA, Frederico Fernando Souza Título: Arthur Azevedo: o crítico de arte como colecionador / o colecionador como crítico de arte Tese apresentada ao Programa de Pós-Graduação em Artes Visuais da Escola de Comunicações e Artes da Universidade de São Paulo para obtenção do título de Doutor em Artes. -
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. -
Vivian Da Silva Paulitsch Impasses No Exercício Da
VIVIAN DA SILVA PAULITSCH IMPASSES NO EXERCÍCIO DA FEMINILIDADE E DA MATERNIDADE NO TRÍPTICO LA FAISEUSE D’ANGES DO PINTOR PEDRO WEINGÄRTNER(1853-1929) Campinas Fevereiro/2009 FICHA CATALOGRÁFICA ELABORADA PELA BIBLIOTECA DO IFCH - UNICAMP Paulitsch, Vivian da Silva P284i Impasses no Exercício da Feminilidade e da maternidade no tríptico La Faiseuse D’Anges (A Fazedora de Anjos) do pintor Pedro Weingartner (1853-1929) / Vivian da Silva Paulitsch. - - Campinas, SP : [s. n.], 2009. Orientador: Jorge Coli. Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas. 1. Weingartner, Pedro, 1853-1929. 2. Feminilidade. 3. Maternidade. 4. Infanticídio. 5. Artes plásticas. 6. Arte – História. 7. Mulheres – Séc. XIX-XX. I. Coli, Jorge, 1947- II. Universidade Estadual de Campinas. Instituto de Filosofia e Ciências Humanas. III.Título. cn/ifch Título em inglês: Impasses in the Exercise of femininity and motherhood in the triptych La Faiseuse D’Anges (The Maker of Angels) by painter Pedro Weingartner (1853-1929) Palavras chaves em inglês (keywords) : Femininity Maternity Infanticide Fine arts Art – History th th Women – 19 – 20 century Área de Concentração: História Titulação: Doutor em História Banca examinadora: Jorge Coli, Pedro Paulo Abreu Funari, Maraliz de Castro Vieira Christo, Paulo Gomes, Ruth Srung Tarasantchi Data da defesa: 13//02/2009 Programa de Pós-Graduação: História ‘ DEDICATÓRIA A todos que reconhecem na produção da arte, e em sua exposição, uma possibilidade de transitar nos diferentes tempos e contextos históricos, para a criação de um olhar inédito em torno do vivido e para intervenção na própria realidade, como exercício legítimo de sua condição humana. iii AGRADECIMENTOS Aos meus queridos pais, Luanda Norma Pereira da Silva Paulitsch e Vilson Estevão Paulitsch, por terem me concebido, gerado, educado e amado, desde sempre, para a vida. -
On the Occasion of the International Seminar on Slave Trade in the Caribbean 24-27 March 2004 Dominican Republic
UNITED NATIONS EDUCATIONAL, SCIENTIFIC AND CULTURAL ORGANIZATION Speech by Professor. Michael OMOLEWA President of the UNESCO General Conference and Permanent Delegate of Nigeria to UNESCO on the occasion of the International seminar on Slave Trade in the Caribbean 24-27 March 2004 Dominican Republic 1 E ku dede Iwoyi o, eyin ara mi ni Orile-ede Dominican, Mo Ki yin l'Oruko Ajo UNESCO, Paapa julo l'oruko Oludari Agba, Koichiro Matsuura ati Alaga Igbimo Oludari, Hans-Heinrich Wrede, Mo ki yin Kaabo sinu Ipade agbaye fun Isami Ikonileru ni iha Guusu America. Mo ki yin pupo, mo si dupe lowo yin fun bi eti gbami ni alejo. Inu mi dun pupo lati wa ni aarin yin. Excellencies: I have just given you my greetings in Yoruba, the language spoken by millions in Nigeria, Tog, Benin, Cuba, Brazil and several Latin American and Caribbean countries. I have used the same language to pray for you for wisdom and Divine Favour in the discharge of your responsibilities and performance of your several functions in life. The exact words are as follow: Greetings to you, brothers and sisters of the Dominican Republic, I bring you warm greetings from UNESCO, from the Director-General of UNESCO, Koïchiro Matsuura, the Chairman of UNESCO Executive Board, Hans-Heinrich Wrede and UNESCO’s Division of Cultural Policies and Intercultural dialogue to this International seminar on slave trade and slavery in the Caribbean. I extend to you my most profound heartfelt greetings, and I thank you for the wonderful manner in which you have received me. It is indeed my pleasure to be here with you today, to mark the International Year to Commemorate the Struggle Against Slavery and its Abolition.