Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal. / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Made available in DSpace on 2014-08-20T13:48:05Z (GMT). No. of bitstreams: 1 CLARICE REGO MAGALHAES_Tese.pdf: 13541381 bytes, checksum: 63af6dbb5b59bafd36dbfbfa38129b8e (MD5) Previous issue date: 2013-02-25 / This thesis is a study about the Fine Arts School of Pelotas Escola de Belas Artes de Pelotas (EBA or EBAP) , a higher education art teaching institution that had great importance to the visual arts development in the city of Pelotas, being at the origin of the present Centro de Artes of the Universidade Federal de Pelotas (CEARTE/UFPEL). The work inserts itself in the teaching institutions history field and is anchored to the theoretical proposal of Cultural History and Education Sociology. The time period examined runs from1949 to 1973, limits that correspond respectively to the year of the foundation and the year when the private school became a federal institution, being incorporated to the Universidade Federal de Pelotas. The thesis aims to understand why EBA embraces academicism as its art style and pedagogical method in the mid 20th century, when modern art is being generally embraced, and keeps this preference until the end of the sixties. It also seeks to ascertain how the School has been kept functioning during its 24 years of existence being private and free of charge. The work has been developed by means of collection and analysis of documents. The main source of the documents are the institution‟s archives, the founder‟s family records, interviews with people that lived the School‟s genesis and evolution, newspaper material of the period, and the founder‟s diary. We reached the conclusion that the EBA not only has been founded but also has been maintained thanks to the efforts of Pelotas‟ cultural elite which supported and effectively participated in the project, always under the leadership of Dona Marina de Moraes Pires. This participation occurred in such a way, in such a close relationship, that EBA configured itself as a reflection of that elite, being made in its image and likeness, with the same values, the same mentality and from the same imagination. Hence, the characteristic academicism of the institution, of its teaching form and artistic production has been determined by factors that existed in the society within which it arise and developed itself, such as conservatism. And the School, being a higher education art teaching institution, legitimates academicism, thus influencing the History of Art in Pelotas. / Esta tese é um estudo sobre a Escola de Belas Artes de Pelotas (EBA ou EBAP), instituição de ensino de arte de nível superior que teve grande importância para o desenvolvimento das artes visuais da cidade de Pelotas, sendo a origem do atual Centro de Artes da Universidade Federal de Pelotas (CEARTE/UFPel). O trabalho se insere no campo de estudo da história das instituições educacionais, e está ancorado na proposta teórica da História Cultural e na Sociologia da Educação. A delimitação temporal é de 1949 a 1973, correspondendo às datas de sua fundação e de sua federalização, quando deixa de ser uma escola particular e passa a fazer parte da Universidade Federal de Pelotas. Os objetivos da tese são entender por que a EBA adota o academicismo como seu estilo e método pedagógico, em meados do século XX, época de adoção do modernismo, e o mantém até o final dos anos sessenta, e também descobrir como a Escola se manteve em funcionamento durante os seus 24 anos de existência, sendo particular e gratuita. O trabalho foi desenvolvido por meio da coleta e análise de documentos. As principais origens dos documentos são o acervo da Instituição, o acervo da família da fundadora, entrevistas realizadas com pessoas que viveram a gênese e a trajetória da Escola, matérias de jornais da época e o diário da fundadora. Conclui-se que a EBA foi não só fundada, como também sustentada, pelos esforços da elite cultural pelotense, que apoiou e participou efetivamente do projeto, sempre sob a liderança de D. Marina de Moraes Pires. Esta participação se deu de tal modo, em uma relação tão estreita, que a EBA se configurou como um reflexo desta elite, sendo construída à sua imagem e semelhança, com os mesmos valores, mentalidade e a partir do mesmo imaginário. Assim, o academicismo característico da Instituição, de sua forma de ensino e de sua produção artística, foi determinado por fatores existentes na sociedade em que surgiu e se desenvolveu, dentre os quais o conservadorismo. E a Escola, sendo uma instituição de nível superior de ensino de arte, legitima o academicismo, influindo assim na História da Arte em Pelotas.

Costas Dimitriadis (1879-1943) est l’artiste grec le plus célèbre sur le plan international de la première moitié du XXe siècle, entre Paris et Athènes. Par ses fonctions, il contribua à la création et à la modernisation des institutions artistiques publiques grecques, en assumant de 1930 à sa mort, la direction de l’École Supérieure des Beaux-Arts d’Athènes. Dans cette thèse, nous racontons la vie de Dimitriadis en Roumélie Orientale, où il est né, et puis à Athènes, dans le premier atelier libre où il fit son apprentissage et ses études à l’École des Beaux-Arts. Ensuite, nous suivons la trace de ses premiers pas en Europe ainsi que le rôle déterminant qu’ont joué dans sa survie artistique certains membres éminents des cercles parisiens tels que Jean Moréas et Jean Pischari, de même que son mécène, le marchand d’armes Basil Zaharoff. En passant par Paris et Londres, nous déterminons les processus qui l’ont conduit à des commandes en France, en Angleterre et en Grèce. Nous recherchons aussi de quelle façon Dimitriadis se rangea du côté des gouvernements grecs pro-venizelistes (1922-32) en vue de la modernisation de l’État grec par l’européanisation des institutions artistiques et quelle fut sa contribution à l’exercice de la diplomatie culturelle. Finalement, nous examinons l’évolution décroissante de son rôle protagoniste, interrompu par la politique d’intervention du dictateur Ioannis Metaxas ainsi que par l’Occupation jusqu’à sa mort, en octobre 1943. Sans exclure les analyses thématiques, nous avons choisi pour ce travail de suivre une structure chronologique accompagnée d’un catalogue raisonné de l’oeuvre du sculpteur. / Costas Dimitriadis (1879-1943), who lived and worked in Athens and Paris, was the most famous Greek artist of the first half of the twentieth century. Through his directorship of the School of Fine Arts in Athens (1930-1943), he defined the role and viewpoint of public art institutions in Greece to this day. This dissertation traces Dimitriadis’ life and work. It begins with his youth in Eastern Roumelia followed by an examination of his studies in Athens both as an apprentice and in the School of Fine Arts. The dissertation continues with an exploration of his early career in Europe and the role Paris intellectual circles played in his artistic development, mainly the prominent members Jean Moréas and Jean Pischari, and his patron, the arms dealer Basil Zaharoff. In addition, this dissertation establishes the process by which Dimitriadis established ateliers in Paris and London, as well as a leading role in the art life of these cities as well as in Greece. His political viewpoints are also examined; for example, his support to the Venizelist Governments (1922-1932), which promoted modernization of the Greek state through the Europeanization of art institutions and his role in cultural diplomacy are documented and discussed. Circumstances that limited Dimitriadis’ leading role are also examined, including policies of the dictator Ioannis Metaxas and the Occupation of Greece during World War II. Although chronological in structure, the dissertation also explores thematic issues. It includes moreover a Catalogue Raisonné of the artist.