Informe de Seminario para optar al grado de Licenciado en Historia

Made available in DSpace on 2014-06-11T19:22:27Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-02-28Bitstream added on 2014-06-13T19:27:48Z : No. of bitstreams: 1 oliveira_srm_me_ia.pdf: 3367855 bytes, checksum: d8b28ad336f25c88adc37255b01c951a (MD5) / A presente dissertação aborda o conceito de Grotesco na Estética e na História da Arte, analisados sob dois aspectos principais: da forma como esse conceito foi transformado desde a época da Grécia Antiga até o século XIX (período de grandes mudanças formais da representação humana nas Artes) e do exemplo do artista Francisco de Goya, através de sua série de gravuras Los Desastres de la Guerra, composta por imagens violentas; grotescas, híbridas e trágicas, que refletem esteticamente o horror advindo da Guerra de Independência e do retorno de um Estado Monárquico e Absoluto. Nossa pesquisa tem por meta avaliar as mudanças políticas, sociais e culturais que influenciaram a transformação desses conceitos estéticos e a aceitação desses novos paradigmas que resultaram numa mudança de visão e fruição da própria Arte entre os séculos XVII e XIX (época de ascensão do Liberalismo e Iluminismo), mostrando como os acontecimentos históricos podem transformar os conceitos artísticos de acordo com as necessidades humanas de retratar seu próprio tempo. Os procedimentos metodológicos foram de revisão bibliográfica parcial sobre as questões do Grotesco na Arte e uma pesquisa sobre a vida e obra de Goya, utilizando as imagens acima citadas, que aqui são analisadas do ponto de vista iconológico / The current dissertation accosts the concept of “Grotesque” in Aesthetics and history of Arts analysed under two main aspects: the way this concept was transformed since the times of Ancient Greece until the nineteenth century ( a period of great formal changes of the human representation and other pictorial genres, and the example of the artist Francisco de Goya through his series of etchings The Disasters of War, composed by violent, hybrid and tragic images, which reflect aestheticly the horrors resulted from the War of Independence and the return of a Monarchic and Absolutist State. Our research objectives have the aim of appraising political, social and cultural factors that influenced the processing and acceptance of new paradigms such as the Grotesque in art making, that resulted in a change of vision and enjoyment of the Art itself between the seventeenth the nineteenth centuries (time of the rise of Liberalism and Iluminism), showing how this concept was transformed by artistic, cultural and historical events according to the Human needs of portraying their own time. The methodological procedures were of a partial bibliographical review about the issues of the Grotesque in art and a research of the life and work of Goya, using the prints cited before, which are here analysed from an iconological point of view

The taste for all things Spanish that swept France in the 1860s had profound, if misunderstood, effects on modern French and Spanish art. French artists were fascinated by both the perceived exoticism of contemporary Spain as well as the newly popular paragons of its art historical past. The lessons of Velázquez and Goya, in prevailing accounts of modernism, were learned best by avant-garde artists like Édouard Manet (1832–1883), whom a contemporary critic went so far as to call the “Spaniard of Paris.” My dissertation contends, instead, with the other Spaniards of Paris, successful expatriate artists who worked between the French capital, Rome, and Madrid. These artists, led by Mariano Fortuny (1838–1874), considered themselves the rightful interpreters of the Spanish tradition. I argue that Fortuny and his circle shrewdly positioned their work in relation to French ideas about Spanish art, both avant-garde and conservative, as well as Spain’s developing national art historical narratives, even though they often lived beyond their nation’s borders. I demonstrate that these artists, whose seemingly unassuming genre paintings were undergirded by a pronounced but hitherto unexamined nationalism, sought to shape the Spanish art historical tradition; present themselves as its inheritors; and influence the collecting of Spanish art, especially in the United States, in the final third of the nineteenth century.