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Orientador: Sergio Mauro Romagnolo / Banca: Marco Garaude Giannotti / Banca: Fernando José Amed / Resumo: Resumo Esta pesquisa constitui-se de duas partes complementares: a primeira apresenta um relato do processo de criação das pinturas que desenvolvi entre os anos de 2013 e 2015, as quais são exibidas aqui. Desse relato se originam as ideias-chaves que compõem a trama teórica apresentada nos capítulos seguintes, cujo objetivo consiste em expor as reflexões oriundas da prática, relacionando-as com o pensamento de autores e artistas afins. O eixo central desta dissertação gira em torno da questão do olhar, posto que as pinturas por mim elaboradas utilizam referências visuais para sua criação. Nesse sentido, a observação das coisas que existem ao redor levou à constatação de que não sou visível para mim mesma e, partindo dessa premissa, são analisadas questões como a necessidade da percepção visual de si, por meio da investigação da pintura de autorretrato e da autocontemplação mediante o uso de instrumentos como espelho e fotografia, e a percepção visual do outro, tomando como foco o olhar que se direciona aos objetos que existem no interior da casa. É apresentada, ainda, análise acerca de dois artistas específicos: Jean-Baptiste Siméon Chardin e Giorgio Morandi. As conclusões desta pesquisa,... / Abstract: This research is constituted by two complimentary parts: the first one reports the creative process of the paintings produced by myself between 2013 and 2015, which are exhibited here. The key-concepts analyzed on the following chapters are originated from the report and aim to expose reflections derived from practice by establishing links with other authors and artists. The dissertation focuses on the act of seeing, since the paintings I produce require direct observation of visual references. In that sense, the act of looking at things around me led to the finding that I'm not visible to myself, and starting from this premise, the research investigates the necessity of visual perception of oneself, by analyzing self-portrait paintings and the usage of instruments that make us visible, such as the mirror and photograph, and the visual perception of others, by examining our relation with the objects that belong to the interior of a home. It is also presented an investigation of two artists: Jean-Baptiste Siméon Chardin and Giorgio Morandi. The research conclusions, in accordance with Silvio Zamboni conceptions, are contained in the produced paintings. / Mestre

Texte remanié de: Diss.--Frankfurt am Main--Johann Wolfgang Goethe-Universität, 2000. / Bibliogr. p. 157-189.

Texte remanié de: Thesis Ph. D.--Princeton, N.J.--Princeton university, 202. / Notes bibliogr.

Texte remanié de: Diss.--Faculty of classics--Cambridge, 1998. / Bibliogr. p. 304-325. Notes bibliogr. Index.

Texte remanié de: Diss. Ph. D.--University of California, Berkeley, 1993. / Bibliogr. p. 345-358.

Texte remanié de: Dissertation--Philosophische Fakultät--Freiburg im Breisgau--Albert-Ludwigs-Universität, 1994. / Notes bibliogr.

Inaug.-Diss.--Münster (Westf.). / Bibliography: p. 102-109.

The purpose of this project is to create a group of paintings/portraits of two close friends, using the medium of oil bars on gessoed paper. This medium will be explained in the text of the paper. The paintings were an attempt to describe aspects of personality that I see in my friends, their own personal struggles and victories. I observed these changes first hand. I told the story of these changes, as they evolved, in the paintings.The six paintings explore the naturalistic style which is new for me. It will open other avenues of visual expression. It was necessary for me to spend time in research and study of other contemporary artists who have worked with the figure and portraits. The study of other artists is an artistic discipline that helped me clarify, in my own mind, the purpose and problem-solving that took place in the course of my study. / Department of Art

Inaug.-Diss.--Münster (Westf.). / Bibliography: p. 102-109.