[pt] Se imagem, por sua anfibologia, pode ser tomada como uma proposição dada à contemplação tanto quanto uma operação da consciência, a pintura parece ser um locus privilegiado para observar a intensificação de seus desafios ao pensamento, assim como arena apoteótica de sua neutralização. Este trabalho se empenha em deslindar alguns aspectos do problema das imagens, visando contudo, aclarar a possibilidade de uma reflexão sobre a mímesis na pintura moderna. O trabalho do pintor Édouard Manet (1832-1883) é assim analisado como contra-exemplo da reiteração de uma premência imitativa nas artes visuais – sem que com isso deixe de se enfatizar as profundas conexões estabelecidas entre obra e mundo. Nossa especulação incidirá sobre a formulação do lugar das imagens no pensamento ocidental, a fim de aclarar se algumas proposições iniciais não se apresentam ainda como entraves na reflexão contemporânea. Por não ser de todo corriqueiro, o empreendimento teórico sobre a mímesis, juntado aí a ênfase das imagens como um modo de relação sui generis, permite refletir sobre a ênfase poiética na pintura de Manet, distanciando-a da sombra de ser ela uma mera crônica reiterativa. Esta investigação, portanto, pretende oferecer uma objeção ao mecanicismo imitativo de alguns dos discursos sobre artes visuais. / [en] If image, due to its amphibology, can be taken as a proposition given to contemplation as much as an operation of consciousness, the realm of painting seems to be a privileged locus to observe the intensification of its challenges to thought, as well as an apotheotic arena of its neutralization. This paper endeavors to unravel some aspects of image s surrounding issues, aiming, however, to clarify the possibility of a reflection on mimesis in modern painting. The work of painter Édouard Manet (1832-1883) is thus analyzed as a counter-example of the reiteration of an imitative urge in the visual arts – without neglecting to emphasize the deep connections established between the work and the world. Our speculation will focus on the formulation of images locus in Western thought, in order to clarify whether some initial propositions do not yet present themselves as obstacles in contemporary reflection. As it is not commonplace, the theoretical enterprise on mimesis, along with the emphasis on images as a unique mode of relationship, allows us to reflect on the poietic emphasis in Manet s painting, distancing it from the shadow of being a mere scandalous and repetitive chronicle. This investigation, therefore, intends to offer an objection to the imitative mechanism of some established discourses on visual arts.

This paper analyzes the political dimensions surrounding visual and literary allusions to soap bubbles. Traditionally, iconographic studies consider soap bubbles within the history of northern Baroque vanitas, attaching to bubbles notions of ephemerality and transience. Building on these interpretations, eighteenth- and nineteenth-century French artists and writers created a complex metaphor for soap bubbles that relied on their impermanence and fragility, as well as their illusory nature. By coupling the earliest conceptual meanings of soap bubbles with their almost imperceptible formal properties, the bubble blower came to symbolize deceivers, or figures creating illusions or delusions. Eventually, this transformed vanitas symbolism became harnessed to political critiques and representative of chimerical assertions of papal authority, calumny, and false promises of liberal reform. I not only describe the alternative meanings associated with soap bubbles in eighteenth- and nineteenth-century France, but also I situate Edouard Manet's Les Bulles de savon (1867) within this trajectory. While most scholars interpret Manet's painting and accompanying prints as a continuation of, and legacy to, the Dutch vanitas tradition, I illustrate how the artistic and political milieu in which Manet worked mirrored earlier criticisms employing allusions to bubbles. / Art History

Esse estudo trata de seis variações do preto na pintura. O trabalho apresenta telas de Edouard Manet, Vincent van Gogh, Henry Matisse, Iberê Camargo, Eduardo Sued e Pierre Soulages. A pesquisa das obras e procedimentos poéticos desses pintores visa a indicar para diversas maneiras como o preto, não mais usado para o sombreado, se transforma em áreas de cor e como esses campos cromáticos atuam nas pinturas. A análise mostra que a cor preta, na qual há variações de tonalidade e saturação, pode ser usada como um meio de tensão cromática na superfície pictórica, como um elemento expressivo, ou para criar uma nova espacialidade para além do plano do quadro. Vale a pena notar que esses usos não são mutuamente exclusivos e, por exemplo, o preto que cria a tensão cromática pode ser expressivo e criar uma nova espacialidade. / This essay deals with six variations of black in painting. Reaserch on the production and poetic procedures by Eduoard Manet, Vincent van Gogh, Henry Matisse, Iberê Camargo, Eduardo Sued and Pierre Soulages, indicates several manners where black, contrary to its use as a shadowing component, transforms itself in areas of color. The manner in which the cromatic fields act upon the painting is analised and show that the color black, with its variations in tone and depth, may be used as an element of expession; as a means for chromatic tension over the pictures surface or for the production of a new spaciality beyond its surface. These uses are not mutually exclusive and, as where black creates chromatic tension, it may also be expressive and generate a new spaciality.

Esse estudo trata de seis variações do preto na pintura. O trabalho apresenta telas de Edouard Manet, Vincent van Gogh, Henry Matisse, Iberê Camargo, Eduardo Sued e Pierre Soulages. A pesquisa das obras e procedimentos poéticos desses pintores visa a indicar para diversas maneiras como o preto, não mais usado para o sombreado, se transforma em áreas de cor e como esses campos cromáticos atuam nas pinturas. A análise mostra que a cor preta, na qual há variações de tonalidade e saturação, pode ser usada como um meio de tensão cromática na superfície pictórica, como um elemento expressivo, ou para criar uma nova espacialidade para além do plano do quadro. Vale a pena notar que esses usos não são mutuamente exclusivos e, por exemplo, o preto que cria a tensão cromática pode ser expressivo e criar uma nova espacialidade. / This essay deals with six variations of black in painting. Reaserch on the production and poetic procedures by Eduoard Manet, Vincent van Gogh, Henry Matisse, Iberê Camargo, Eduardo Sued and Pierre Soulages, indicates several manners where black, contrary to its use as a shadowing component, transforms itself in areas of color. The manner in which the cromatic fields act upon the painting is analised and show that the color black, with its variations in tone and depth, may be used as an element of expession; as a means for chromatic tension over the pictures surface or for the production of a new spaciality beyond its surface. These uses are not mutually exclusive and, as where black creates chromatic tension, it may also be expressive and generate a new spaciality.

Images of shop assistants - class and gender in french urban environments during the 1880’s. The aim of this study is to examine the representation of class and gender in two French paintings by Édouard-Jean Dambourgez and James Tissot from the 1880’s, depicting women working outside the home. I have examined how their roles as shop assistants are captured and if the male gaze, and subsequently the woman as an object, has any explanatory value in the paintings. The artworks were analysed using a somewhat reworked version of Erwin Panofskys Iconography, as well as through marxist and feminist theories. The analysis discusses how class and gender are produced in these paintings and I have reached the conclusion that they can be produced in different ways.

Zugl.: Freiburg (Breisgau), Univ., Diss., 2007.

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