Czech Illustrated Magazines of the Second Half of the 19th Century Markéta Dlábková Abstract of the thesis Illustrated magazines are specific phenomenon in the 19th century culture. Between the 1860s and 1890s they published an enormous number of pictorial materials of diverse content and quality. Apart from general social importance they played a significant role in the world of art as well. Today they can serve as a beneficial source of knowledge about situation on Czech as well as European art scene in the period. The so-called penny-magazines of the 1830s can be seen as predecessors of illustrated magazines. They presented a cheap and popular source of knowledge and amusement, together with considerable amount of xylographic illustrations. However, it was the second half of the 19th century that witnessed a real boom of illustrated magazines. At the beginning of the 1840s, the Illustrated London News, the Leipziger Illustrirte Zeitung and L'Illustration established the character of this type of periodicals. In following years there were many other magazines rising throughout entire Europe. In the Czech lands, first examples of the type can be found at the end of the 1850s. Květy (1865-1872), Světozor (1867-1899) and Zlatá Praha (1884-1929) belong among the most successful periodicals. The thesis deals...

Orientador: Luciano Migliaccio / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-17T13:16:17Z (GMT). No. of bitstreams: 1 Silva_MariadoCarmoCoutoda_D.pdf: 88905634 bytes, checksum: 83b1638fc2dd25fabb53042dce9158cb (MD5) Previous issue date: 2011 / Resumo: Nossa tese de doutorado tem por objetivo contribuir para 0 conhecimento acerca da historia da arte brasileira do final do século XIX e começo do XX, por meio da analise de obras e dos momentos que marcaram a trajetória do escultor Rodolfo Bernardelli (1852-1931). O jovem aluno da Academia Imperial de Belas Artes começa a ganhar destaque no cenário das artes nacionais a partir da sua participação nas Exposições Gerais de Belas Artes, na década de 1870. Apos um período de estudo na Europa, o artista retornou ao Brasil em 1885 e por seus trabalhos realizados no exterior, foi denominado pela critica como artista moderno, recebendo as principais encomendas monumentais da época. Bernardelli foi o principal escultor da primeira década republicana no Brasil e Primeira Republica e atuou como diretor da Escola Nacional de Belas Artes - ENBA, por cerca de 25 anos. / Abstract: Our aim in this thesis is to contribute to the knowledge of the history of Brazilian Art between the end of the 19th century and the beginning of the 20th century through the study of the works and the life moments of the sculptor Rodolfo Bernardelli (1852-1931). The young pupil of the Imperial Academy of Fine Arts begun to gain attention from the national art realm after his participations, along the 187 O's, at General Fine Arts Exhibitions. In 1885, after a period of studies in Europe, the artist returned to Brazil and was then acclaimed as a modern artist by the critics because of the pieces produced abroad. He then received the main monumental commissions of the period. Bernardelli was the main sculptor of Brazil during the first decade of the Republic and was the director of the National School of Fine Arts - ENBA, during almost 25 years. / Doutorado / Historia da Arte / Doutor em História

Orientador: Silvia Fernanda de Mendonça Figueirôa / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Geociências / Made available in DSpace on 2018-08-19T00:12:25Z (GMT). No. of bitstreams: 1 AssisJunior_Heitorde_D.pdf: 8773337 bytes, checksum: 79aa03cc23c97d2f3e92199e46a93f24 (MD5) Previous issue date: 2011 / Resumo: Esta tese de doutorado traz informações a respeito do pintor José dos Reis Carvalho e sua produção artística. Fez parte desta pesquisa as relações com Debret e com a Comissão Científica de Exploração das Províncias do Norte, ou seja, as influências do seu professor na Academia Imperial de Belas Artes e sua participação na primeira expedição científica genuinamente brasileira promovida pelo Instituto Histórico e Geográfico Brasileiro. Reis Carvalho realizou diversas obras de cunho etnográfico documentando vestes e fisionomias dos habitantes do Rio de Janeiro, de onde também retratou edificações e equipamentos urbanos, dos quais, sob a influência do mestre Debret, destacou aspectos construtivos, técnicos e de funcionamento, assim como seus operadores. Durante a Comissão Científica de Exploração das Províncias do Norte, da qual participou entre fevereiro de 1859 até julho de 1861, realizou diversos desenhos e pinturas, orientados pelo botânico Freire Alemão (1797- 1874), pelo zoólogo Manoel Ferreira Lagos (1817-1871) e pelo geólogo Guilherme Schüch Capanema (1824-1908). Suas imagens parecem ilustrar diversas passagens dos escritos de Capanema e dos manuscritos de Freire Alemão, nas quais estes descrevem desde rochas e paisagens naturais, até vários tipos de cercas, construções de casas e mesmo, formas utilizadas pelos sertanejos para pendurar suas redes. Durante aquela empreitada, principalmente a aquarela foi utilizada na retratação dos elementos observados, de natureza geológica, etnográfica, técnica, botânica ou zoológica. Suas imagens incluem paisagens naturais que ressaltam características geológicas e botânicas, particularidades anatômicas de espécimes vegetais e animais, construções e povoações. Seus tipos humanos são mostrados sem idealização das fisionomias e realizando tarefas diárias, mediante utilização de artefatos e técnicas particulares de manejo. A confrontação de imagens permite notar que José dos Reis Carvalho também foi influenciado por pintores estrangeiros que acompanharam e participaram de expedições comandadas por cientistas viajantes durante o século XIX. Portanto, seu perfil iconográfico vai muito além daquele normalmente encontrado em bibliografias que o tratam como pintor de flores e naturezas mortas / Abstract: This doctorate thesis brings information about the painter José dos Reis Carvalho and his artistic production. It was part of this research his relations with Debret and with the Comissão Científica de Exploração das Províncias do Norte (Scientific Comission of Exploration of the Northern Provinces) - the influences of his teacher at the Academia Imperial de Belas Artes (Imperial Academy of Fine Arts) and his participation in the first scientific expedition genuinely Brazilian sponsored by the Instituto Histórico e Geográfico Brasileiro (Brazilian Institute of History and Geography). Reis Carvalho has produced many works of etnographic features documenting clothes and physical characteristics of the inhabitants of Rio de Janeiro where he has also pictured buildings and urban equipments, of which, under Debret's influence, has pointed out aspects such as constructive, technical, and working, as well as their operators. When he participated in the Comissão Científica de Exploração das Províncias do Norte (Scientific Comission of Exploration of the Northern Provinces), between February 1859 and July 1861, he produced many drawings and paintings oriented by the botanist Freire Alemão (1797-1874), by the zoologist Manoel Ferreira Lagos (1817-1871), and by the geologist Guilherme Schüch Capanema (1824-1908). His images seem to illustrate several passages of Capanema's writings and of Freire Alemão's manuscripts, in which, these describe from rocks and natural landscapes to various kinds of fences, house structures, and even different ways the country people used to hang their hammocks. During that task the water color was most used to picture the observed elements of geologic nature. His images include natural landscapes that emphasize geologic and botanic features of vegetal and animal specimens, buildings and villages. His human types are shown without physiognomic pattern doing every day tasks and using artifacts and special handling technics. The confrontation of images allows the observation that José dos Reis Carvalho was also influenced by foreign painters who attended the expeditions led by traveller scientists during the nineteenth century. Therefore, his iconographic profile goes much beyond of that usually found in bibliographies that place him as a painter of flowers and still life / Doutorado / Ensino e Historia de Ciencias da Terra / Doutor em Ciências

Orientador: Luciano Migliaccio / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-04T03:41:43Z (GMT). No. of bitstreams: 1 Silva_MariadoCarmoCoutoda_M.pdf: 14705585 bytes, checksum: 9a33d39acb6de8040e84e55c5ed42dad (MD5) Previous issue date: 2005 / Resumo: Esta pesquisa enfoca o grupo escultórico monumental Cristo e a mulher adúltera, de Rodolfo Bernardelli (Guadalajara, México, 1852 ¿ Rio de Janeiro RJ, 1931). Realizado em Roma entre 1881 e 1884, é considerado pela crítica como a sua obra-prima. Nosso projeto procurou estabelecer ligações entre essa escultura, outras obras do artista no mesmo período e a arte italiana e francesa contemporânea. Outro objetivo desse projeto foi a análise da importância do estágio italiano do escultor, enquanto pensionista da Academia Imperial de Belas Artes do Rio de Janeiro em Roma, entre 1877 e 1885, para melhor conhecimento acerca da vertente realista a qual o artista se filiou. Além de procurar inserir a produção de Rodolfo Bernardelli no contexto histórico e artístico em que foi realizada, nos últimos anos do Segundo Reinado, a pesquisa buscou a compreensão do papel desses trabalhos na constituição da cultura visual do Brasil daqueles anos / Abstract: This research deals with Rodolfo Bernardelli's (Guadalajara, Mexico, 1852 - Rio de Janeiro, Brazil, 1931) monumental group of sculptures called "Christ and the adulteress". Sculpted in Roma between 1881 and 1884 it is considered by the critics as his master piece. Our project intends to stablish links among this sculpture, some other works of the artist made in the same period and the contemporary French and Italian arts. Another aim of this project was to analize Bernardelli's Italian apprenticeship, sponsored by the Academia Imperial de Belas Artes do Rio de Janeiro in Rome between 1877 and 1885, in order to grasp better understanding of the realistic school to which the artist connected himself. Besides aiming to insert Rodolfo Bernardelli's work on the historical context of its production, that is the last years of the Second Reign, this research tried to understand the role played by his sculptures on the formation of Brazilian's visual culture during those years / Mestrado / Historia da Arte / Mestre em História

Genre prestigieux héritier d’une longue tradition, la peinture d'histoire connaît de multiples évolutions tout au long du XIXe siècle. Sous le Second Empire, régime longtemps affecté par sa « légende noire », ce genre restait encore à définir. Il présente des caractéristiques qui l’inscrivent véritablement dans son siècle, tout en lui conférant une originalité : émanation de la peinture d'histoire et de ses mutations dans la première moitié du siècle, précurseur de sa reformulation sous la Troisième République, la peinture d'histoire sous le Second Empire est marquée par la singularité. L’étude des représentations de l’histoire peintes entre 1860 et 1870 en est révélatrice. D’emblée, la corrélation entre les créations et le terme même de « peinture d'histoire » pose question. En effet, tout en se maintenant dans un sujet classique (historique), ces « peintures à sujet historique » se rapprochent tour à tour de la peinture de genre et du genre historique, et sont contaminées par le réalisme et le goût de la couleur locale. Si l’expression académique de « peinture d'histoire » convient encore à la peinture de bataille, cette dernière subit aussi les assauts de la modernité et connaît une mutation sous la forme spécifique de la peinture militaire. La démarche des peintres de sujets historiques présente des récurrences. Un important travail préparatoire, à partir de textes, de sources voire de découvertes archéologiques, est mis au service de reconstitutions positivistes des événements, permettant de susciter l’intérêt du public. Le choix des sujets varie selon les intentions : édifier le spectateur, montrer un passé idéalisé utilisé comme répertoire de sujets émouvants, ou encore exposer une idéologie. Au-delà de la dimension historiciste d’éducation par le passé national, ces œuvres donnent à voir un certain état de la pensée historique, des principaux courants d’idées qui ont influencé les peintres. Plus encore, ces derniers véhiculent et diffusent une conception de l’histoire qui rejaillit sur leur présent par l’intermédiaire de la presse et de l’illustration, et ils contribuent ainsi à construire l’image qui va s’ancrer dans les mémoires. Support traditionnel de propagande et de « fabrication » du pouvoir, la peinture d’histoire conduit à se poser la question des pratiques culturelles du gouvernement du Second Empire. L’instrumentalisation de l’image par l’État est réelle, mais se cantonne aux peintures de bataille et aux figurations du faste impérial. Napoléon III, dans sa politique d’acquisition, s’adapte aux créations plus qu’il ne les génère. En revanche, il exerce une influence indirecte : la mise en scène de sa personne, du couple impérial et de ses goûts historiques, offre une série de thèmes exploités par les peintres. La peinture à sujet historique n’est pas instrumentalisée dans le cadre des envois de l’État. Les élites locales jouent un rôle essentiel dans le développement de ce genre : municipalités et Sociétés savantes, édiles et érudits encouragent les créations sur l’histoire nationale ou locale. La représentation de l’histoire entre 1860 et 1870 donne à voir la place primordiale de l’histoire, dans ses aspects savants et populaires, à échelle nationale et locale, inspirée par le sentiment d’attachement à la « petite patrie » comme à la nation / Prestigious genre, heir to a long tradition, the history painting experiences multiple evolutions throughout the 19th century. Under the Second Empire, for a long time a regime marked by its "black legend", the genre still remained to be defined. Its characteristics fix it deeply in its century, while conferring it an originality : an emanation of the history painting and its transformations in the first half of the century, a precursor of its reformulation under the Third Republic, the history painting under the Second Empire is marked by its singularity. The study of the representations of history painted between 1860 and 1870 is revealing there. Straightaway, the correlation between the creations and the term of "history painting" raises questions. Indeed, while remaining in a classic subject (history), these "paintings on historic subject" get closer alternately to the genre painting and the historic genre, and are contaminated by the realism and the interest in the local colour. If the academic expression of "history painting" still suits for the painting of battle, the latter is also touched by the modernity and transformed into military painting. The approach of the painters of historic subjects presents recurrences. An important preparatory work, on texts, sources, even archaeological discoveries, is put in the service of positivist reconstructions of the events, in order to raise the interest of the public. The choice of the subjects varies according to the intentions: educate the spectator, show an idealised past used as directory of moving scenes, or develop an ideology. Beyond the historicist dimension of education about the national past, these pieces of art show a certain state of the historic thought, the main currents of ideas that influenced the painters. Moreover, the latter convey and spread a conception of history that reaches the contemporary through the press and the illustration, and so they contribute to build the image that will be anchored in the memory. A traditional mean of propaganda and "manufacturing" of the power, the history painting raises the question of the cultural practices of the government of the Second Empire. The instrumentalisation of the image by the State is real, but is restricted to the paintings of battle and of the imperial splendour. Napoleon III, in his acquisition policy, adapts himself to the creations more than he generates them. On the other hand, he exercises an indirect influence: the staging of his person, the imperial couple and its tastes in history, offer a series of themes exploited by the painters. The painting of historic subject is not instrumentalised within the framework of the envois of the State. The local elites play an essential role in the development of this genre: municipalities and Learned societies, town councillors and scholars encourage creations on national or local history. The representation of the history between 1860 and 1870 reveals the essential place of history, in its erudite and popular aspects, on a national and local scale, inspired by the feeling of attachment to the "small homeland" as well as the nation.