O centenário da independência do Brasil, comemorado em 1922, mostrou-se uma oportunidade excepcional para as elites brasileiras exporem projetos de identidade nacional, de predominância europeia, no que diz respeito à cultura, o que inclui considerações racistas, e de manutenção da estrutura social, calcada no capitalismo liberal. O presente trabalho tem por objetivo investigar como tais projetos impactaram as exposições, congressos, e outros eventos comemorativos. A Exposição Internacional e os congressos de História do Brasil e Internacional de Americanistas mostraram um país inserido na economia mundial, buscando os fatos e os personagens fundadores da nacionalidade, interessado em se aproximar dos demais países do continente e que considerava a miscigenação uma aliada para promover o branqueamento da população. O estudo também se volta ao mecenato estatal, cuja intenção de adquirir quatro quadros de assunto histórico, relacionados aos acontecimentos de 1822, estimulou alguns artistas a retomar a produção de tal gênero de pintura, porém algo distanciados dos cânones acadêmicos e incorporando questões e discursos em pauta naquele momento histórico. O juri encarregado selecionou, para aquisição, as obras: Sessão do Conselho de Estado, de Georgina de Albuquerque; Primeiros sons do Hino da Independência, de Augusto Bracet; Tiradentes, o precursor, de Pedro Bruno; Minha terra, de Hélios Seelinger. Os eventos retratados, apesar da presença de personagens históricos, abordaram o direito de voto à mulher; a revisão do período monárquico e da figura de Pedro I; a trajetória do país de 1500 a 1889, sob a perspectiva da miscigenação e do branqueamento; o papel do Estado, enquanto instância de repressão. / The centennial of Brazil independence, celebrated in 1922, was an exceptional opportunity for Brazilian elites expose projects of national identity, of European predominance, with respect to culture, which includes racists considerations, and maintenance of the social structure, based on liberal capitalism. The present study aims to investigate how these projects impacted the exhibitions, conferences, and other commemorative events. The International Exhibition and the Congress of History of Brazil and the International Congress of Americanists showed a country inserted in a world economy, looking for facts and founders for a nationality, interested in being closer to the other countries of the continent, considering miscegenation as an allied to promote whitening of the population. This work studies the acquisition of four historical paintings, related to the events of 1822, under the state commitments which led some artists to resume the production of this genre, although something distanced from academic canons but incorporating questions and speeches of that historical moment. The responsible committee selected for purchase the works: Sessão do Conselho de Estado, by Georgina de Albuquerque; Primeiros sons do Hino da Independência, by Augusto Bracet; Tiradentes, o precursor, by Peter Bruno; Minha terra, by Helios Seelinger. The paintings portrayed, despite the presence of historical characters, the womans right to vote; the revision of the monarchic period and the figure of D. Pedro I; the country history from 1500 to 1889, from the perspective of miscegenation and whitening; the state\'s role as an institution of repression.

O centenário da independência do Brasil, comemorado em 1922, mostrou-se uma oportunidade excepcional para as elites brasileiras exporem projetos de identidade nacional, de predominância europeia, no que diz respeito à cultura, o que inclui considerações racistas, e de manutenção da estrutura social, calcada no capitalismo liberal. O presente trabalho tem por objetivo investigar como tais projetos impactaram as exposições, congressos, e outros eventos comemorativos. A Exposição Internacional e os congressos de História do Brasil e Internacional de Americanistas mostraram um país inserido na economia mundial, buscando os fatos e os personagens fundadores da nacionalidade, interessado em se aproximar dos demais países do continente e que considerava a miscigenação uma aliada para promover o branqueamento da população. O estudo também se volta ao mecenato estatal, cuja intenção de adquirir quatro quadros de assunto histórico, relacionados aos acontecimentos de 1822, estimulou alguns artistas a retomar a produção de tal gênero de pintura, porém algo distanciados dos cânones acadêmicos e incorporando questões e discursos em pauta naquele momento histórico. O juri encarregado selecionou, para aquisição, as obras: Sessão do Conselho de Estado, de Georgina de Albuquerque; Primeiros sons do Hino da Independência, de Augusto Bracet; Tiradentes, o precursor, de Pedro Bruno; Minha terra, de Hélios Seelinger. Os eventos retratados, apesar da presença de personagens históricos, abordaram o direito de voto à mulher; a revisão do período monárquico e da figura de Pedro I; a trajetória do país de 1500 a 1889, sob a perspectiva da miscigenação e do branqueamento; o papel do Estado, enquanto instância de repressão. / The centennial of Brazil independence, celebrated in 1922, was an exceptional opportunity for Brazilian elites expose projects of national identity, of European predominance, with respect to culture, which includes racists considerations, and maintenance of the social structure, based on liberal capitalism. The present study aims to investigate how these projects impacted the exhibitions, conferences, and other commemorative events. The International Exhibition and the Congress of History of Brazil and the International Congress of Americanists showed a country inserted in a world economy, looking for facts and founders for a nationality, interested in being closer to the other countries of the continent, considering miscegenation as an allied to promote whitening of the population. This work studies the acquisition of four historical paintings, related to the events of 1822, under the state commitments which led some artists to resume the production of this genre, although something distanced from academic canons but incorporating questions and speeches of that historical moment. The responsible committee selected for purchase the works: Sessão do Conselho de Estado, by Georgina de Albuquerque; Primeiros sons do Hino da Independência, by Augusto Bracet; Tiradentes, o precursor, by Peter Bruno; Minha terra, by Helios Seelinger. The paintings portrayed, despite the presence of historical characters, the womans right to vote; the revision of the monarchic period and the figure of D. Pedro I; the country history from 1500 to 1889, from the perspective of miscegenation and whitening; the state\'s role as an institution of repression.

Esta dissertação tem por tema o estudo do circuito social de uma pintura histórica voltada à representação urbana. Trata-se da tela Fundação de São Paulo, concluída pelo pintor brasileiro Oscar Pereira da Silva em 1907, e pertencente ao acervo do Museu Paulista da Universidade de São Paulo. Produzida em um momento em que o sucesso político e econômico das elites dirigentes paulistas era associado à construção de um passado heróico para a capitania de São Vicente e de São Paulo, esta pintura integra-se ao processo de produção de representações iconográficas que tinham por intenção oferecer uma narrativa visual sobre esse passado. Sua musealização permitiu um contínuo processo de apropriação social, que permitiu integrá-la ao imaginário paulistano e paulista. Percorrer o circuito desta pintura (composto por sua concepção/realização, exposição, fortuna crítica,aquisição, musealização e reprodução) é o objetivo deste trabalho, tendo em vista que a obra é um dos principais suportes da representação de momentos fundadores de espaços urbanos produzidos no Brasil republicano e peça fundamental no corpus de imagens que embasaram um imaginário nacional, paulista e paulistano. / The theme of this dissertation is the study of the social circuit of a historical painting with a urban representation motif. It discusses the painting Fundação de São Paulo, concluded by the Brazilian painter Oscar Pereira da Silva in 1907, and belonging to the collection of the University of São Paulo\'s Museu Paulista (São Paulo Museum). Produced in a moment in which the political and economic success of the São Paulo ruling upper classes was associated with the construction of a heroic past for the São Vicente and São Paulo captaincies, this painting integrates itself with the production process of iconographical representations that intended to offer a visual narrative for this past. Its museumization permitted a continuous social appropriation process, that allowed its integration with the São Paulo state\'s and city\'s imagery. To browse through this painting\'s content (composed by its conception/production, exposition, critic fortune, aquisition, museumization and reproduction) is this work\'s goal, since the picture is one of the main sustainment of the representation of founding moments in urban spaces produced in republican Brazil, and keystone to the images\' corpus that supported an imagery for the country, the state and the city.

Esta dissertação tem por tema o estudo do circuito social de uma pintura histórica voltada à representação urbana. Trata-se da tela Fundação de São Paulo, concluída pelo pintor brasileiro Oscar Pereira da Silva em 1907, e pertencente ao acervo do Museu Paulista da Universidade de São Paulo. Produzida em um momento em que o sucesso político e econômico das elites dirigentes paulistas era associado à construção de um passado heróico para a capitania de São Vicente e de São Paulo, esta pintura integra-se ao processo de produção de representações iconográficas que tinham por intenção oferecer uma narrativa visual sobre esse passado. Sua musealização permitiu um contínuo processo de apropriação social, que permitiu integrá-la ao imaginário paulistano e paulista. Percorrer o circuito desta pintura (composto por sua concepção/realização, exposição, fortuna crítica,aquisição, musealização e reprodução) é o objetivo deste trabalho, tendo em vista que a obra é um dos principais suportes da representação de momentos fundadores de espaços urbanos produzidos no Brasil republicano e peça fundamental no corpus de imagens que embasaram um imaginário nacional, paulista e paulistano. / The theme of this dissertation is the study of the social circuit of a historical painting with a urban representation motif. It discusses the painting Fundação de São Paulo, concluded by the Brazilian painter Oscar Pereira da Silva in 1907, and belonging to the collection of the University of São Paulo\'s Museu Paulista (São Paulo Museum). Produced in a moment in which the political and economic success of the São Paulo ruling upper classes was associated with the construction of a heroic past for the São Vicente and São Paulo captaincies, this painting integrates itself with the production process of iconographical representations that intended to offer a visual narrative for this past. Its museumization permitted a continuous social appropriation process, that allowed its integration with the São Paulo state\'s and city\'s imagery. To browse through this painting\'s content (composed by its conception/production, exposition, critic fortune, aquisition, museumization and reproduction) is this work\'s goal, since the picture is one of the main sustainment of the representation of founding moments in urban spaces produced in republican Brazil, and keystone to the images\' corpus that supported an imagery for the country, the state and the city.

Peintre d’histoire actif dès le début de la Restauration jusqu’au Second Empire, membre de l’Académie des beaux-arts et officier de la Légion d’honneur, Auguste Couder représente parfaitement toute une génération d’artistes reconnus de leur vivant, mais oubliés par la suite. Méconnue de nos jours, son œuvre, riche et variée, mérite pourtant d’être redécouverte. Elève fidèle de David, fortement marqué par l’enseignement de son maître, Couder se distingua en tant qu’un excellent dessinateur qui ne négligeait pas pour autant la couleur. Sollicité pour de nombreuses commandes officielles et privées, il réalisa un grand nombre d’œuvres inspirées tantôt de l’histoire – aussi bien antique que nationale, tantôt de la religion ou de la littérature. Peintre prolifique, exposant régulièrement aux Salons des années 1814-1848, il participa également à plusieurs travaux de décoration d’édifices civils et religieux. Pourtant, jusqu’à présent, sa création ne fit l’objet d’aucune étude. Cette thèse a pour objectif de combler cette lacune, en retraçant la carrière de Couder d’une part, et en établissant le premier catalogue raisonné de son œuvre, d’autre part. Comprenant près de 400 peintures et dessins, dont plusieurs sont inédits, ce catalogue met en évidence la richesse de la création artistique de Couder laquelle retrouve ainsi sa place dans l’histoire de la peinture du XIXe siècle. / Auguste Couder, a historical painter active from the outset of the French Restauration to the Second Empire, a member of the Académie des beaux-arts (Academy of Fine Arts) and an Officer of the Legion of Honour, is a true representative of a whole generation of painters who were recognised as such during their lifetime but forgotten afterwards. Little known today, his works, abundant and varied, well deserve to be rediscovered. As a loyal student of David whose teaching greatly influenced him, Couder stood out as an excellent drawer but was nevertheless much interested in colours. He was commissioned numerous orders, from official and private sources, for paintings of a historical nature – both ancient and national – and inspired by religion and literature. A prolific artist, he participated regularly in the Salon held between 1814 and 1848 ; he also took part in several decorative works for official and religious edifices. Yet, his works have never been the subject of any study. The object of the present thesis is to remedy this situation by reviewing his whole career as well as drawing up, for the first time, a full descriptive catalogue of his works. This catalogue, which comprises some 400 paintings and drawings – several of which are unpublished, highlights the rich creation of Couder, reinstating him in the history of the 19th century arts.

English abstract: In this my master thesis I attempt to depicture comprehensively the life-work of Viktor Barvitius (1834 - 1902), one of the Czech Pioneers of Modern Realism. Tracing the fates and influences that had formed the oeuvre of this fancier of urban turmoil helps us to figure out his positron within the kontext of period art. Barvitiuses creation embraces all main domains of painting of the time: portrayals, historical painting, genre; it has reached its peak during his stay in France between 1865 and 1867. For his immediate reaction to the French Modern Realism and together with Karel Purkyně and Soběslav Pinkas, Barvitius represents one of the prophets of the Czech Programme Realism. In 1877, Barvitius got a commission as an inspector of the SVPU Art Gallery; Czech museum culture is a great deal due to his activity on the field. Barvitiuses whole life artistic work, both theoric and practical, make him an important figure of Czech cultural history. Hooked illustration and period and later reviews make an integral part of my thesis. It also includes the list of Barvitiuses art pieces owned by Czech museums and galleries, Czech National Gallery in Prague, the art pieces that were the subjects of auction-sale and the inventory of his art work.

(in English) This thesis called Grave, Tombstone, Graveyard. The Range of Motifs of the Czech Painting of the 19th Century is based on the analysis of paintings, drawings and graphics made by Czech authors throughout the 19th century. Artists worked with funeral motifs in different ways and these will be presented in different case studies. Some painters were fascinated by these subjects and they turned their attention to them systematically and repeatedly throughout their career. Other artists worked with funeral motifs rarely, although significantly. Artists integrated motifs of graves, monuments and cemeteries to their pieces of art for different purposes; this was connected with the interest of Romanticism in aesthetic anomalies and mystery, with their personal experience and feelings. Artists were also interested in genre scenes that were situated in cemeteries. Funeral motifs can be found in illustrated journals as well. Their aim was to document the specific place and as to symbolically express the finality of the life. The pieces of art will be presented in the context of the burial rites and literature of the 19th century. This phenomenon was also reflected by foreign artists, some of them will be also mentioned in the thesis as an analogy to the Czech works.

In my Ph.D. thesis I suggest methodological approach to the figural painting of the middle of the 19 century, creation of the Czech painter Josef Manes in particular. In this period figural artists still learned to copy historic models in both academic and non-academic institutions. But the figure starts to be also presented as identifying element of the society, newly establishing nations in particular. Also emancipation of artists and their effort for conceptual expression (self-representation) is reflected in the presented figural form. Painting of the late romanticism is characterised by adoptions of Michelangelo's and manieristic way of portrayal of human body. Thus there is a remarkable shift from so far popular classical Raffaelo's renaissance figure. For Josef Manes, usually only graphic patterns were available. In this thesis I also analyse Manes's anthropomorfisations and his tendencies to deform anatomic proportions of depicted figures. I show that these features of Manes's art have social, mental and formal background. I aimed to find interpretations of Manes' artistic approach, probably influenced by ideas from Munich, Dresden, Vienna and Düsseldorf. Powered by TCPDF (www.tcpdf.org)

In my Ph.D. Thesis I suggest methodological approach to the figural painting of the middle of the 19 century, creation of the Czech painter Josef Manes in particular. In this period figural artists still learned to copy historic models in both academic and non-academic institutions. But the figure starts to be also presented as identifying element of the society, newly establishing nations in particular. Also emancipation of artists and their effort for conceptual expression (self-representation) is reflected in the presented figural form. Painting of the European late romanticism is characterised by adoptions of Michelangelo's and manieristic way of portrayal of human body. Thus there is a remarkable shift from so far popular classical Raffaelo's renaissance figure. For Josef Manes, usually only graphic patterns were available. In this thesis I also analyse Manes's anthropomorfisations and his tendencies to deform anatomic proportions of depicted figures. I show that these features of Manes's art have social, mental and formal background. I aimed to find interpretations of Manes's artistic approach, probably influenced by ideas from Munich, Düsseldorf and Vienna. Powered by TCPDF (www.tcpdf.org)