Johann Moritz RUGENDAS (1802 - 1858)

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Johann Moritz RUGENDAS (1802 - 1858) 29. März 1802 Geburt in Augsburg ab 1814 Zeichenunterricht bei Albrecht Adam in München 1817 Aufnahme in die Münchner Akademie, Ausbildung zum Landschaftsmaler bei Lorenz von Quaglio 1822 - 1825 Reise nach Brasilien, Rugendas soll als wissenschaftlicher Illustrator für die Brasilien-Expedition von Georg Heinrich Freiherr von Langsdorff (1774 - 1852) arbeiten. Mai - November 1824 Teilnahme an der Langsdorff-Expedition; vorzeitige Kündigung des Vertrages aufgrund von Meinungsverschiedenheiten November 1824 - April Reise durch die brasilianischen Provinzen Espirito Santo, Mato 1825 Grosso und Bahia Mai 1825 Rückkehr nach Europa auf Wunsch des bayrischen Königs Max Joseph, der die Ergebnisse der Reise veröffentlichen lassen will 1825 Begegnung mit Alexander von Humboldt (1769 - 1859) in Paris; Beginn einer fruchtbaren künstlerisch-wissenschaftlichen Zusammenarbeit Herbst 1825 Nach dem Tod des Königs Max Joseph besteht in München nur noch ein geringes Interesse an Rugendas' Werk. Januar 1826 Rückkehr nach Paris. Begegnung mit dem Maler Eugène Delacroix, dessen Malstil ihn beeinflusst 1827 - 1835 Das Werk „Voyage pittoresque dans le Brésil“ erscheint mit Unterstützung Alexander von Humboldts; es enthält 100 Lithographien. 1828 - 1830 Reise nach Italien Sommer 1830 Rückkehr nach Deutschland. Besuch bei Johann Friedrich Blumenbach (1752 - 1840) in Göttingen Mai 1831 Reise von Bordeaux über Haiti nach Mexiko, mit einem Empfehlungsschreiben Alexander von Humboldts Juli 1831 - Mai1834 Aufenthalt in Mexiko 1833 Gefängnishaft und Verurteilung wegen Unterstützung einer Verschwörung, Ausweisung 1834 - 1842 Aufenthalt in Chile; bereist unter anderem das Gebiet südlich des Río Bíobío 1837 schwerer Reitunfall, der ihn über mehrere Jahre hinweg reiseunfähig macht 1842 - 1845 Reise durch Peru und Bolivien 1845 - 1847 Reise durch Argentinien, Uruguay und Brasilien 1847 Rückkehr nach Europa 1848 Verkauf seines Werkes an den bayrischen König Max II. (mehr als 3.300 Studien: Bleistiftskizzen, Ölskizzen und Aquarelle) 29. Mai 1858 in Weilheim (Württemberg) gestorben © Ibero-Amerikanisches Institut, Berlin .

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Les Peintures De Paysages De Johann Moritz Rugendas
Artl@s Bulletin Volume 5 Article 3 Issue 1 South-North-South 2016 Les peintures de paysages de Johann Moritz Rugendas : un exemple de transferts artistiques entre Europe et Amérique latine au XIXe siècle Lucile Magnin Université Blaise-Pascal, Clermont-Ferrand, [email protected] Follow this and additional works at: http://docs.lib.purdue.edu/artlas Part of the History of Art, Architecture, and Archaeology Commons, and the Latin American Languages and Societies Commons Recommended Citation Magnin, Lucile. "Les peintures de paysages de Johann Moritz Rugendas : un exemple de transferts artistiques entre Europe et Amérique latine au XIXe siècle." Artl@s Bulletin 5, no. 1 (2016): Article 3. This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. This is an Open Access journal. This means that it uses a funding model that does not charge readers or their institutions for access. Readers may freely read, download, copy, distribute, print, search, or link to the full texts of articles. This journal is covered under the CC BY-NC-ND license. South-North-South Les peintures de paysages de Johann Moritz Rugendas : un exemple de transferts artistiques entre Europe et Amérique latine au XIXe siècle Lucile Magnin * Université Blaise Pascal Clermont-Ferrand Abstract This article examines two series of landscapes paintings realized by the traveling painter Johann Moritz Rugendas in the 1830’s: a corpus of oil sketches painted during his trip in Mexico and another set of paintings created when he crossed the Andes between Santiago de Chile and Mendoza.
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Juan Mauricio Rugendas Letters, 1835-1845 Finding
Special Collections and University Archives UMass Amherst Libraries Johann Moritz Rugendas Collection 1835-1845 1 box (0.5 linear ft.) Call no.: MS 271 About SCUA SCUA home Credo digital Scope Overview Series 1. Domingo de Oro Series 2. Juan Gualberto Godoy Series 3. Juan de Espinosa Series 4: José Javier y Tomás Bustamante Inventory Series 1: Domingo de Oro Series 2: Juan Gualberto Godoy Series 3: Juan de Espinosa Series 4: José Javier y Tomás Bustamante Admin info Download xml version print version (pdf) Read collection overview The painter Johann Moritz Rugendas was born in Augsburg, Germany, in 1802, and achieved fame for his depictions of the landscape, natural history, and cultural history of South American early in the era of independence. Beginning as a member of George Heinrich Langsdorff's scientific expedition to Minas Gerais in 1821, and then on his own, Rugendas traveled widely in Brazil, Mexico, Argentina, Uruguay, Chile, and Peru. His best-known published work is the monumental four-volume set, Malerische Reise in Brasilien (1827-1835). The Rugendas collection consists of 192 letters and 4 poems written to Rugendas by four of his South American artist friends who shared his passion for the country and culture of Argentina. See similar SCUA collections: Arts and literature Central and South America Background on Johann Moritz Rugendas Johann Moritz Rugendas (also known as Juan Mauricio Rugendas) was among the most influential European artists to travel in South America during the first half of the nineteenth century. Born in Augsburg (present-day Germany) on Mar. 29, 1802, and raised in a family of renowned painters and engravers, Rugendas was provided with a strong academic artistic foundation, training in father's art school and studying under the painter Albrecht Adam and then under Lorenz Quaglio at the Academy of Arts in Munich.
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Empire of Prints. the Imperial City of Augsburg and the Printed Image In
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Aleijadinho's 'Prophets' As Capoeiristas
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2008-03-19 A Call for Liberation: Aleijadinho's 'Prophets' as Capoeiristas Monica Jayne Bowen Brigham Young University - Provo Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Art Practice Commons BYU ScholarsArchive Citation Bowen, Monica Jayne, "A Call for Liberation: Aleijadinho's 'Prophets' as Capoeiristas" (2008). Theses and Dissertations. 1346. https://scholarsarchive.byu.edu/etd/1346 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. A CALL FOR LIBERATION: ALEIJADINHO’S PROPHETS AS CAPOEIRISTAS by Monica Jayne Bowen A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Department of Visual Arts Brigham Young University April 2008 Copyright © 2008 Monica Jayne Bowen All Rights Reserved BRIGHAM YOUNG UNIVERSITY GRADUATE COMMITTEE APPROVAL of a thesis submitted by Monica Jayne Bowen This thesis has been read by each member of the following graduate committee and by majority vote has been found to be satisfactory. Date Martha M. Peacock, Chair Date Mark J. Johnson Date C. Mark Hamilton BRIGHAM YOUNG UNIVERSITY As chair of the candidate’s graduate committee, I have read the thesis of Monica Jayne Bowen in its final form and have found that (1) its format, citations, and bibliographical style are consistent and acceptable and fulfill university and department style requirements; (2) its illustrative materials including figures, tables, and charts are in place; and (3) the final manuscript is satisfactory to the graduate committee and is ready for submission to the university library.
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The Brazilian Campos in Nineteenth-Century Landscape Art
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M Aritime History
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Hercules Florence, Da Imagem Pictórica À Imagem Técnica: Os Anos Decisivos1
Hercules Florence, da imagem pictórica à imagem técnica: os anos decisivos1 Boris Kossoy Professor Titular do Departamento de Jornalismo e Editoração da Escola de Comunicações e Artes da Universidade de São Paulo. Resumo O objetivo desta apresentação é o de trazer uma contribuição à história das mentalidades, a partir da análise crítica da obra de Hercule Florence (1804-1879), desenvolvida nas décadas de 1820 e 1830. Trata-se do período em que participou da Expedição Langsdorff na qualidade de desenhista e cartógrafo, e os anos imediatamente seguintes quando, já radicado na Vila de São Carlos (Campinas), deu início ás suas pesquisas e descobertas em diferentes campos da ciência e da técnica. Uma de suas investigações precursoras, iniciada em 1833, culminou na descoberta de um processo fotográfico; uma descoberta pioneira no Brasil e nas Américas, conforme comprovamos ainda nos anos de 1970, junto aos meios acadêmicos e institucionais no Brasil, EUA e Europa. A contínua difusão desta descoberta através de cursos e eventos nacionais e internacionais possibilitou resgatar tal fato do esquecimento. Palavras-chave fotografia; história; Hercules Florence; descoberta da fotografia Corpo do trabalho Este ano de 2004 comemora-se o bicentenário de nascimento de Antoine Hercule Romuald Florence (1804-1879). Independentemente da data, sua personalidade e suas realizações em vários campos da ciência, da técnica e das artes deveriam ser objeto de maiores investigações e reflexões. E também de uma mais efetiva difusão. Nada mais oportuno que retomar a obra de Hercule Florence dentro do tema “Comunicação, Acontecimento e Memória”, no contexto deste VII Colóquio Brasil-França de Ciências da Comunicação e da Informação.
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Afro-Latin American Art
10 Afro-Latin American Art Alejandro de la Fuente1 It is a remarkable moment, barely perceptible, tucked at the edge of the image. Titled “Mercado de Escravos,” the 1835 Johann Moritz Rugendas (1802–58) lithograph depicts a group of African slaves who wait to be purchased, while some potential buyers walk around and a notary or scribe appears ready to make use of the only visible desk (see Figure 10.1). In the background, a Catholic Church coexists harmoniously with the market and overlooks a bay and a vessel, perhaps the same ship that brought those Africans from across the Atlantic. While they wait, most of the slaves socialize, sitting around a fire. Others stand up, awaiting their fate, between resignation and defiance. One slave, however, is doing something different: he is drawing on a wall, an action that elicits the attention of several of his fellow slaves (see Figure 10.1A). What was this person drawing on the wall? What materials was he using? Who was his intended audience? Did these drawing partake of the graphic communication systems developed by some population groups in the African continent? Was he drawing one of the cosmograms used by the Bantu people from Central Africa to communicate with the ancestors and the divine? (Thompson 1981; Martínez-Ruiz 2012). Was he leaving a message for other Africans who might find themselves in the same place at 1 I gratefully acknowledge the comments, suggestions, and bibliographic references that I received from Paulina Alberto, George Reid Andrews, David Bindman, Raúl Cristancho Álvarez, Thomas Cummins, Lea Geler, María de Lourdes Ghidoli, Bárbaro Martínez- Ruiz, and Doris Sommer.
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Juan Mauricio Rugendas Juan Mauricio Rugendas
1 Juan Mauricio Rugendas Juan Mauricio Rugendas Juan Mauricio Rugendas, nació el 29 de marzo de 1802 en Augsburgo, Alemania y murió el 19 de mayo de 1858 en Weilheim, Alemania. Biografía Johann Moritz Rugendas, conocido en Chile como Juan Mauricio Rugendas, nació el 29 de marzo de 1802 en Augsburgo, Alemania. Desde pequeño demostró habilidad y talento artístico. Su padre, Johann Lorenz Rugendas (1775-1826), pintor, dibujante y entonces director de la Escuela de Arte y Dibujo de Augsburgo, lo inició en las técnicas del grabado y la litografía. Estudió más tarde con Albrecht Adam (1786-1862), pintor de batallas y amigo de su padre. En 1817, ingresó en la Academia de Múnich, donde fue alumno de Lorenz von Quaglio (1730-1804). En 1821, siguiendo el derrotero de muchos artistas viajeros del siglo XIX , tomó parte como dibujante de una expedición científica al Brasil organizada por el Barón Georg Heinrich von Langsdorff (1774-1852), Cónsul General de Rusia en ese país. Estando en Brasil, Rugendas abandonó la expedición y continuó el viaje por cuenta propia. A su regreso a Francia publicó el álbum Voyage Pittoresque dans le Brésil con 100 litografías originales realizadas en la expedición. Su trabajo fue muy elogiado por la comunidad científica de París. En esa ciudad conoció a Alexander von Humbolt (1769-1859), naturalista alemán con quién mantuvo una estrecha amistad y quien lo apoyó e influyó en su obra. Más tarde viajó a Roma donde continuó su formación y tomó contacto con las vanguardias artísticas europeas del momento. El año 1831, debido a su continuo interés por la cultura y el continente americano, viajó a Haití y luego a México.
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Biografia De Johann Moritz Rugendas
ANPUH – Associação Nacional de História / Núcleo Regional de Pernambuco O COTIDIANO BRASILEIRO DO SÉCULO XIX ATRAVÉS DAS IMAGENS DE RUGENDAS. Élcia Bandeira / Luiz Aragão / Mário Ribeiro 2 O COTIDIANO BRASILEIRO DO SÉCULO XIX ATRAVÉS DAS IMAGENS DE RUGENDAS. Élcia de Torres Bandeira, profª UFRPE História do Brasil [email protected] Luiz Adriano Lucena Aragão, graduando em História UFRPE [email protected] Mário Ribeiro dos Santos, graduando em História UFRPE [email protected] EMENTA A pesquisa tem como principal finalidade resgatar a importância artística e histórica da documentação iconográfica produzida pelo pintor alemão Johann Moritz Rugendas na sua passagem pelo Brasil, na primeira metade do século XIX, e sua possível utilização como recurso didático alternativo. Considerando a importância no tocante à diversidade das informações contidas nas obras desse cientista das artes, adotaremos uma divisão para o trabalho em três momentos distintos: primeiro, a biografia do artista; segundo, a análise descritiva da obra com a respectiva inserção no contexto histórico e, por fim, a importância da análise iconográfica para pesquisadores das diversas áreas do conhecimento. BIOGRAFIA DE JOHANN MORITZ RUGENDAS Johann Moritz Rugendas nasceu em 29 de março de 1802, na cidade de Augusburgo, na Alemanha. Filho primogênito do gravador, editor e diretor da escola de desenho de Ausburgo Johann Lorenz Rugendas, com quem aprendeu desde a infância a dar os primeiros traços no papel. Os Rugendas havia se estabelecido na cidade de Augsburgo já no início do século XVII, onde foram ganhando prestígio, primeiro como fabricantes de relógios e depois como pintores e gravadores. Com vistas a assumir o ateliê familiar, Rugendas iniciou nas artes desenhando gravuras de animais e naturezas-mortas, com peças de caça e depois complexas cenas de batalhas – um assunto que constituía especialidade do trabalho de Rugendas.
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Abramov A.V., Baranova G.I
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La Mirada Costumbrista De Rugendas
ARTE B2/-8/ AE/2+/ R1:/: B/00,0/ F/8>2./5 5, F+21:1DB/ 3 L,.0/:, >-/= LA MIRADA COSTUMBRISTA DE R()%*+!# Entre $)!$ y $)!", el pintor alemán retrató en dibujos y pinturas el paisaje y los personajes del México rural y urbano que descubrió desde Veracruz hasta Colima. A pesar de la corta estadía –fue obligado a salir del país–, reKejó la vida cotidiana en un momento de transición entre la época virreinal y la conformación del Estado moderno. 72 Los artistas viajeros fueron grandes exponentes elementos distintivos de regiones extrañas, del romanticismo, corriente surgida a Cnales sobre todo las costumbres y el paisaje, orga- del siglo 7@+++ y principios del 7+7 como con- nizados armónicamente en textos e imágenes secuencia de la revolución francesa –que puso para el público europeo. Aunque los juicios Franz Hanfstaengls, en entredicho al despotismo ilustrado en el de cada viajero partían de intereses e ideales Johann Moritz gobierno y quiso eliminar los valores políticos particulares, por lo general económicos y po- Rugendas, ca. 1852. y religiosos tradicionales–, así como del desa- líticos, el espíritu romántico de la época les rrollo tecnológico implicado en la revolución dio un Cn común: interpretar a una nación industrial inglesa. En el caso de los escritores, apenas conocida, desmintiendo los juicios que ilustradores y pintores, este movimiento se sobre ella se habían producido. vio reKejado en el intento de aprehender el El barón Alexander Von Humboldt, quien mundo desde una perspectiva subjetiva y de recorrió América entre $(** y $)'", fue el eliminar las jerarquías entre géneros, así como primer viajero europeo que cuestionó la in- desdeñar la enseñanza académica de un arte formación existente sobre México.
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