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Thesis (MFA)--Rocheser Institute of Technology, 1987. / Includes bibliographical references (leaves 25-26).

Made available in DSpace on 2015-05-14T12:23:12Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 13316888 bytes, checksum: fa2ac3263bf506f7836c208dcf7d907c (MD5) Previous issue date: 2013-08-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Between 1601 and 1602, the Italian painter Michelangelo Merisi, known as Caravaggio, received one of his most important orders. It was the last job to finish the series dedicated to the apostle Matthew in Contarelli Chapel in Rome, a painting called St. Matthew and the Angel. By decision of the Church, Caravaggio's version lacked decorum and had to be replaced. With a new contract, Caravaggio painted a second version of St. Matthew and the Angel, which was immediately put in its destination place. Following this event, a Marquis from the Roman nobility named Vincenzo Giustiniani, who had bought the unwelcomed version of St. Matthew and the Angel, ordered Caravaggio a painting that excelled all of the paintings in the world, Love Triumphant (Amor Vincit Omnia). The reason for the change in perspective between the three paintings, the representation of subjects so diverse among themselves and the abrupt transformation of approach, aesthetic and configuration, formed the scope of this work. These three paintings by the Italian artist Michelangelo Merisi da Caravaggio (1571-1610) revealed in this dissertation a dissident and provocative artist between the sixteenth and seventeenth centuries, in a Rome recognized in historical literature for its splits and political-religious conspiracies, deeply marked by the Religious Reforms of the period. In this conjuncture, the paintings of Caravaggio made it possible to study not only the Baroque artist, but also the social relations involved, the influences of the Baroque, the idiosyncrasies of Caravaggio, the Artistic Culture, expanding what we understand as History of Paintings and covering concepts pertinent to objectives and methodology adopted, as evidence-based analysis (Clue Paradigm), Memory, Imaginary and the allegorical and pictorial representations. Notably, in the production of historical consciousness of work, we permeate our writing with printed sources from the seventeenth century and the fundamental and specific works on Caravaggio and Art History. Through the performance of the object of study we came to conclusions on Modern History, Tridentine Rome, Catholic cosmogony, the body, religious beliefs, paganism, sacred and profane, signs and clues that reveal the clash between the artist's vision and the vision of Church and society. / Entre 1601 e 1602, o pintor italiano Michelangelo Merisi, conhecido como Caravaggio, recebeu uma de suas encomendas mais importantes. Era o último trabalho para a finalização da série dedicada ao apóstolo Mateus na Capela Contarelli, em Roma, pintura chamada São Mateus e o Anjo. Por decisão da Igreja, a versão de Caravaggio não possuía decoro e teve de ser substituída. Diante de novo contrato, Caravaggio pintou uma segunda versão de São Mateus e Anjo, que prontamente foi posta no lugar de destino. Em seguida a este certame, um Marquês do seio nobiliárquico romano de nome Vicenzo Giustiniani, que havia comprado a versão malquista do São Mateus e o Anjo, encomendou a Caravaggio uma pintura que sublimasse a todas do mundo, o Amor Vitorioso (Amor Vincit Omnia). O porquê da mudança de perspectiva entre as três telas, a representação de temas tão diversos entre si e a transformação abrupta de abordagem, estética e configuração, formaram o escopo do presente trabalho. Estas três pinturas do artista italiano Michelangelo Merisi, o Caravaggio (1571-1610) revelaram na presente dissertação um artista dissidente e provocativo entre os séculos XVI e XVII, em meio a uma Roma reconhecida na literatura histórica como de cisões e conchavos político-religiosos, profundamente marcada pelas reformas religiosas do período. Através desta conjuntura, as pinturas de Caravaggio possibilitaram estudar não somente o artista barroco, mas também as relações sociais envolvidas, as influências do Barroco, as idiossincrasias de Caravaggio, a Cultura Artística, ampliando aquilo que entendemos como História das Pinturas e abrangendo conceituação pertinente aos objetivos e metodologia adotados, como Indiciarismo, Memória, Imaginário e as representações alegórica e pictórica. Notadamente, na produção de consciência histórica do trabalho, permeamos nossa escrita com as fontes impressas do século XVII e com as obras fundamentais e específicas sobre Caravaggio e a História da Arte. Por meio do desempenho sobre o objeto de estudo chegamos a conclusões sobre a História Moderna, Roma tridentina, cosmogonia católica, o corpo, concepções religiosas, paganismo, sagrado e profano, signos e indícios que revelaram o choque entre a visão do artista e a visão da Igreja e da sociedade.

The presented diploma thesis was elaborated as an architectural study of a Central European Forum in Olomouc (SEFO). Campus SEFO will be created as an reconstruction of the Museum of Modern Art (MUO) in Denis street and building in a neighboring vacant lot. The proposal involves urban, architectural, operational layout, design and material solutions objects in spatial context. Within SEFO and MUO they are created each operation - stand-alone units. Objects SEFO and MUO are interconnected. It is necessary to respect the separation of publicly accessible areas of compartments accessible only by employees. Architectural study includes space for exhibitions, library, multi-purpose space with facilities, vestibule usable for exhibition openings and other cultural activities, chamber music performances, as well as facilities for education, technological facilities of the building, the depositary (transport and central), photo studio restoration studio, office space, locker rooms and restrooms personnel. SEFO specific aim of capturing the diverse manifestations of visual culture of Central Europe after World War 2, the building's permanent exhibition, acquisition activity, temporary exhibitions, including larger medium-shows (eg. The biennial or triennial), discussion forums and other supporting cultural events.