Enquanto muitos estudos são feitos para a análise e classificação de pinturas e outros ramos das Artes, este estudo não se detém somente a classificação. Estende-se aqui um método de análise já aplicado a Música e Filosofia (1), representando a evolução da Pintura como uma série temporal onde relações como oposição, inovação e dialética são medidas quantitativamente. Para isso, um corpus de pinturas de 12 artistas reconhecidos do período Barroco e de movimentos da Arte Moderna foram analisadas. Um conjunto de 99 atributos foi extraído e os atributos que mais contribuíram para a classificação das pinturas foram selecionados. O espaço de projeção obtido a partir desses atributos criou a base para a análise de medidas. Essas medidas quantitativas revelaram observações sobre a evolução dos estilos artísticos, especialmente quando comparados com outras áreas do conhecimento humano já analisados. A Música parece ter evoluído com a influência de uma tradição mestre-aprendiz (i.e. por apresentar alta dialética entre os músicos estudados). A Filosofia apresenta valores altos de oposição entre os representantes escolhidos (1), sugerindo que sua evolução apresenta constante oposição de ideias. Já na Pintura nota-se um outro padrão: aumento constante da inovação, baixa oposição entre membros do mesmo período artístico e picos de oposição no momento de transição entre estes períodos. Uma diferença entre os movimentos Barroco e movimentos da Arte Moderna foi também percebido no espaço projetado: enquanto as pinturas barrocas aparecem formando um agrupamento sobreposto, as pinturas modernas apresentam quase nenhuma sobreposição e estão dispostas espalhadas ao longo da projeção, mais que as barrocas. Essa observação encontra base na história da Arte onde os pintores barrocos compartilham características estéticas de suas pinturas, enquanto os modernos tendem a desenvolver seus próprios estilos e, por conseguinte, suas próprias estéticas. / While many studies were performed for the analysis and classification of paintings and other art venues, this study does not stop in the classification step. It extends an analysis method already applied to music and philosophy, representing the evolution of painting as a time-series where relations like opposition, skewness and dialectics were measured quantitatively. For that, a corpus of paintings of 12 well-known artists from Baroque and Modern art was analyzed. A set of 99 features was extracted and the features which most contributed to the classification of painters were selected. The projection space obtained from the features provided the basis to the analysis of measurements. This quantitative measures underlie revealing observations about the evolution of art styles, even when compared with other humanity fields already analyzed. (1) While music seems to evolve guided by a master-apprentice tradition (i.e. presenting high dialectics between composers) and philosophy by opposition, painting presents another pattern: constant increasing skewness, low opposition between members of the same movement and opposition peaks in the transition between movements. A difference between Baroque and Modern movements are also observed in the projected space: while Baroque paintings are presented as an overlapped cluster, the Modern paintings present minor overlapping and are disposed more scattered in the projection than baroques. This finds basis in arts history where Baroque painters share aesthetic characteristics while Modern painters tend to develop their own style and aesthetics.

Made available in DSpace on 2016-08-10T11:21:36Z (GMT). No. of bitstreams: 1 Jacqueline Siqueira Vigario.pdf: 6013656 bytes, checksum: d6f897e68c59a669639addb766250417 (MD5) Previous issue date: 2010-06-14 / This work presents the study of analysis of some pieces of art from Friar Confaloni, consisting an imaging speech of the Visual Culture History in Goiania. It was chosen as a spatial and temporal profile the periods between 1950 a 1952, first phase of the arrival of the Friar in the city of Goias to paint the alfrescos of the Nossa Senhora do Rosário Church. And the second moment, in the year of 1952, in his arrival in Goiania, 1977, year of his decease.Through a detailed research It contextualized the historic moment of the culture of the people from Goiania, emphasizing the participation of Friar Confaloni establishing the school so called Escola Goiana de Belas Artes in 1953 and in the event of the first Conference of Intellectuals in 1954.Having as a methodological theoretical support the modern artistic comprehension of the proposal of George Didi-Huberman, It was sought through the analysis of Friar Confaloni s pieces of work, the approach about the History of the Visual Culture in Goiania, with the modern aesthetic presented by Friar Confaloni who brought in the germinal moments of the cultural modernism in Goiania, in order to break of the cultural isolation of Goias in the national scenario, which resulted in the configuration of an aesthetic popular language, regional, opposing the modernizing political action truly visible in the image of the new capital. The theme required the records about the author s life and works highlighting Confaloni s vocation for the ministry and painting, probing the artistic relation between Confaloni and the space in which he was engaged the city of Goiania. It was considered important for the research to contextualize the period which points the birth of the modern art in Goias, highlighting Confaloni in the capitation of the elements surrounded a new urban environment culture which configured in Goiania starting in the fifties. / Este trabalho apresenta o estudo de análise de parte das obras de arte de Frei Confaloni, constituindo um discurso imagético da História da Cultura Visual em Goiânia. Escolheu-se como recorte espacial e temporal o período entre 1950 a 1952, primeira fase da chegada do Frei à cidade de Goiás para pintar os afrescos da Igreja Nossa Senhora do Rosário. E no segundo momento, 1952 ano da sua chegada em Goiânia, a 1977, ano de seu falecimento. Através de uma pesquisa detalhada contextualizou-se o momento histórico da história da cultura dos goianienses, ressaltando a participação de Frei Confaloni na fundação da Escola Goiana de Belas Artes em 1953 e no acontecimento do I Congresso de Intelectuais em 1954. Tendo como suporte teórico metodológico a compreensão onto-artística moderna da proposta de George Didi-Huberman, buscou-se através das análises das obras de Frei Confaloni, abordar sobre a História da Cultura Visual em Goiânia, com a estética moderna apresentada pelo Frei artista que nos momentos germinais do modernismo cultural em Goiânia, buscou romper com o isolamento cultural de Goiás no cenário nacional, o que resultou na configuração de uma linguagem estética popular, regional, contrapondo a ação política modernizadora plenamente visível na imagem da nova capital. O tema exigiu o registro sobre a vida e as obras do pintor, destacando a vocação de Confaloni pelo sacerdócio e a pintura, aprofundando na relação artística entre Confaloni e o espaço ao qual esteve inserido a cidade de Goiânia. Julgou-se importante para a pesquisa contextualizar o período que aponta o nascimento da arte moderna em Goiás, destacando Confaloni na captação de elementos que rodearam a nova cultura de ambiente urbano que configurava em Goiânia a partir da década de 50.

Submitted by admin tede (tede@pucgoias.edu.br) on 2017-03-30T19:24:41Z No. of bitstreams: 1 SUNNY GABRIELLA DOS SANTOS.pdf: 628195 bytes, checksum: f18432857c89baf955cadcae6e44a3be (MD5) / Made available in DSpace on 2017-03-30T19:24:42Z (GMT). No. of bitstreams: 1 SUNNY GABRIELLA DOS SANTOS.pdf: 628195 bytes, checksum: f18432857c89baf955cadcae6e44a3be (MD5) Previous issue date: 2017-02-23 / This research aims to understand the artistic language of the writing of Clarice Lispector in the works Near the Wild Heart and Passion according to G.H., by Clarice Lispector. The narrative procedure adopted by Clarice Lispector in these works led us to the concepts related to modern and contemporary art, since we will investigate what are the aesthetic characteristics present in the author's writing that suggest such a connection. Thus, it is proposed to study the process of deconstruction of Being and Art from the perspective of the flow of language and the dereference of the Signature Image. The study will be based on contemporary critical theories, considering the rupture of the notion of art as a representation of reality. The theoretical reference for the analysis of the works will be Heidegger's conceptions of the notion of Being in its relationship with time and language, focusing on aspects related to the fragmentation of being-time; The deterritorialization of the artistic act in language to the infinite, in the perspectives of Michel Foucault, Gilles Deleuze and Félix Guattari and, interconnected with the notions of liquid modernity, of ZygmundBauman and the derealization of the work of art.The analysis of the works will be based on the search for the "essentialization" of the Being of the characters by the language (Near the wild heart) and the depersonalization of Being (Passion according to GH) in the context of a work marked by the principle of derealization and dereferentiation of the image -sign - a simulation process, in the view of Jean Baudrillard (1991). / Esta pesquisa visa compreender a linguagem artística da escritura de Clarice Lispector nas obras Perto do coração selvagem e Paixão segundo GH, de Clarice Lispector. O procedimento narrativo adotado por Clarice Lispector nessas obras levou-nos aos conceitos ligados a arte moderna e contemporânea, uma vez que investigaremos quais são as características estéticas presentes na escritura da autora que sugerem tal ligação. Assim, propõe-se estudar o processo de desconstrução do Ser e da Arte sob a perspectiva do fluxo da linguagem e da desreferencialização da Imagem-Signo. O estudo será fundamentado nas teorias críticas contemporâneas, considerando a ruptura da noção de arte como representação da realidade. O referencial teórico de análise das obras serão as concepções de Heidegger sobre a noção do Ser em sua relação com o tempo e a linguagem, focalizando os aspectos relativos à fragmentação do ser-tempo; a desterritorialização do ato artístico em linguagem ao infinito, nas perspectivas de Michel Foucault, Gilles Deleuze e Félix Guattari e, interconectadas às noções de modernidade líquida, de Zygmund Bauman e à desrealização da obra de arte. A análise das obras terá como norte a busca da “essencialização” do Ser das personagens pela linguagem (Perto do coração selvagem) e a despersonalização do Ser (Paixão segundo GH) no contexto de uma obra marcada pelo princípio de desrealização e de desreferencialização da imagem-signo – um processo de simulação, na visão de Jean Baudrillard (1991).

A presente investigação tem por objeto a atuação de Yolanda Penteado como gestora da arte moderna em São Paulo e no Brasil. A pesquisa pretende refletir sobre os mecanismos de gestão da arte brasileira no período entre as décadas de 1940 e 1960 - período no qual ocorrem as constituições do Museu de Arte Moderna de São Paulo (MAM SP), do Museu de Arte de São Paulo (MASP), da Bienal de São Paulo, dos Museus Regionais e do Museu de Arte Contemporânea da Universidade de São Paulo (MAC USP), delineando o ambiente cultural e estético paulistano e o início do intercâmbio internacional através de mecenas como Francisco Matarazzo Sobrinho, o Ciccillo, Assis Chateaubriand e, particularmente, Yolanda Penteado. Discute-se o papel de Yolanda Penteado como gestora das artes modernas, ou seja, mecenas e líder na criação de coleções, eventos e instituições. Nessa direção, as estratégias metodológicas adotadas no trabalho envolvem suportes interdisciplinares, relacionando História, História da Arte, Estética e outras áreas do conhecimento. O estudo recorre à autobiografia de Yolanda - Tudo em Cor-de- Rosa -, de 1976, à biografia Yolanda, de Antonio Bivar, publicada em 2009, às cartas, aos telegramas, às fotos, aos recortes de jornais, revistas e aos documentos oficiais presentes nos arquivos particulares e institucionais, tais como: Wanda Svevo (pertencente à Bienal de São Paulo), MAC USP, MASP, Fundação Cultural Ema Gordon Klabin, entre outros. Além disso, devem ser mencionadas entrevistas com pessoas que foram próximas a Yolanda Penteado e visitas técnicas à Fazenda Empyreo, que ainda hoje guarda objetos e reminiscências de sua presença. / The intention of this research is to assess the performance of Yolanda Penteado as a manager of modern art in São Paulo and Brazil and to reflect on the workings of art management in Brazil from the 1940s to 1960s, when the Museum of Modern Art of São Paulo (MAM SP), the Art Museum of São Paulo (MASP), regional museums, the Contemporary Art Museum of the University of São Paulo (USP MAC) and the Biennale São Paulo were all founded. It also aims to put her work into the context of the cultural and aesthetic environment in São Paulo at that time, during which she and other art patrons, such as Ciccillo Matarazzo and Assis Chateaubriand began international exchanges. This research explores Yolanda Penteado´s role as a manager, patron and leader of collection creation, modern art institutions and events and how her work adopts strategies and methods from various disciplines, including History, Art History, Aesthetics and other knowledge bases. Reference is made to previous publications by Antonio Bivar: All in Pink-Rose (1976), and Yolanda Biography ( 2009), letters, telegrams, photos, newspaper clippings, magazines and official documents, all of which are kept in private and institutional archives, such as: Wanda Svevo (belonging to the Bienal de São Paulo), MAC USP, MASP, and the Ema Gordon Klabin Cultural Foundation. It contains content from interviews with people who were close to Yolanda Penteado and details visits to the Empyreo farm, which still keeps objects and reminders of her presence.

O presente trabalho tem por objetivo tratar de uma parte pouco conhecida da obra de Guillaume Apollinaire: a sua crítica de artes. A partir da análise dos textos que o autor publicou neste domínio, evidencia-se a elaboração de uma série de conceitos que lhe possibilitam pensar a pintura e se posicionar no debate artístico francês dos anos iniciais do século XX. Considerando tais conceitos, mostra-se como estes podem ser relacionados com a reflexão do autor sobre a poesia de sua época e, em particular, com a sua própria. O encontro de suas ideias sobre a pintura e sobre a poesia traduz-se em um projeto estético em sentido amplo que, por isso mesmo, produz efeitos em sua obra poética. Com a finalidade de evidenciá-los, analiso alguns poemas para mostrar como a reflexão artística de Apollinaire importa para a compreensão da obra poética. / The present work aims to deal with the little known part of Guillaume Apollinaires work: his critique of arts. From the analysis of the texts that the author published in this field, it is evident the elaboration of a series of concepts that allow him to think about paintings and position himself in the French artistic debate of the early year of the Twentieth Century. Considering theses artistic concepts, it is shown how they can also be related to the authors views of poetry of his time and, in particular, with his own. From this communication of artistic ideas, it is exposed how it translates into na aesthetic project in the broad sense and that, for this very reason, produces effects in his poetic work. With the purpose of showing this, poems are analysed to express Apollinaires artistic views matters for the understanding of his poetic work.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-09-28T17:29:33Z No. of bitstreams: 1 Maria Aparecida Cordeiro Katsurayama.pdf: 2857225 bytes, checksum: a3387e316d851f2870ce1089d9ebf2cd (MD5) / Made available in DSpace on 2016-09-28T17:29:33Z (GMT). No. of bitstreams: 1 Maria Aparecida Cordeiro Katsurayama.pdf: 2857225 bytes, checksum: a3387e316d851f2870ce1089d9ebf2cd (MD5) Previous issue date: 2016-05-27 / Japan's modernization process witnessed the explosion of new images of the Japanese woman. The purpose of this master's dissertation was to analyze the role of media communication in the reconstruction of these images, especially magazines. The methodology utilized associated specific literature reviews (Sato 2003, Silverberg 2009, Greiner 2015) to analysis of representative images of the tension between the traditional and the modern. The image of the bijinga or "painting of the beautiful woman" was an important reference point to represent the feminine beauty parameters of the pre-modern period, as well as new versions of the modan gaaru or “modern girl”. As a result, it is presented a discussion scarcely developed in Brazil, combining studies of art and Japanese media, in order to understand the complexities of sociopolitical contexts involving the transition from traditional Japan to modernity and its gradual entry to the international market / O processo de modernização do Japão testemunhou uma explosão de novas imagens da mulher japonesa. O objetivo desta dissertação de mestrado foi analisar o papel da comunicação midiática na reconstrução destas imagens, com destaque para as revistas. A metodologia utilizada aliou a pesquisa bibliográfica específica (Sato 2003, Silverberg 2009, Greiner 2015) e análise das imagens representativas da tensão entre o tradicional e o moderno. A imagem da bijinga ou “pintura da mulher bonita” foi um ponto de referência importante por representar os parâmetros de beleza feminina do período pré-moderno, assim como, as novas versões da modan gaaru ou “garota moderna”. Como resultado, apresenta-se uma discussão pouco desenvolvida no Brasil, que alia estudos da arte e da mídia japonesa, tendo em vista compreender as complexidades dos contextos sócio-políticos que envolveram a transição do Japão tradicional para a modernidade e a sua paulatina entrada no mercado internacional

The use and firing of clay to make art instead of vessels was a revolutionary concept in Japan when it first was introduced by Hayashi Yasuo in 1948 with Cloud, and expanded upon by Yagi Kazuo in 1954 with Mr. Samsa’s Walk. Although both avant-garde artists were major forces in the advancement of abstract, nonfunctional ceramics, Yagi is usually given sole credit and occupies a prominent place in the literature, while Hayashi’s name can scarcely be found, despite his numerous international awards, large body of work and career spanning seven decades. This thesis seeks to identify the factors that influenced the direction of their careers and the unbalanced reception of their work. It compares their backgrounds, personality traits, avant-garde affiliations, and positions on art and ceramics, in relation to the norms and prerequisites for success in Kyoto’s deeply stratified, convention-bound ceramic community. The pervasive practice of rating and society’s emphasis on affiliation and rank were significant forces in this situation, as were issues that divided Japan’s art world -- the separation and unequal ranking of fine art and traditional craft, or the value of individual expression versus technique and tradition. Ultimately, this study reveals an insular world during a decade (1946–56) of crisis and transition that is rarely studied in the West from the perspective of ceramic art.

This exegesis is an exploration of meditative process in painting and drawing and accompanies an exhibition of paintings and large drawings called What Lies Beneath. The text contains several passages, called &quotmeditations,&quot which accompany the themes approached in the chapters and give insight into the thoughts and practices of the artist. The methodology involves the examination of the evidence of the work produced by selected artists, looking at the words of artists in notebooks, diaries and interviews and surveying a small number of local contemporary artists. The text opens up the possibilities of drapery and garments and of still life as paths to meditative practice in painting and drawing. The qualities that characterize meditative process/practice, derived from my observations, are categorized. Some of the strengths of these processes are revealed through the examination of the work of artists, both contemporary and historical. The work of Vermeer, Sanchez Cotan, Francisco Zurbaran and contemporary artists Anne Judell, Simon Cooper, Jude Rae, Alison Watt and Eva Hesse highlight different aspects of the meditative process in painting and drawing. The art works in the exhibition are documented and bring out the meditative processes that have contributed to their creation, including the use and meaning of the subject (drapery and the garment as a form of still life).

Jenny Holzer's text-based projects have attracted the attention of critics, historians, and curators from Des Moines to Dresden. An understanding of the complex interplay between language, gender, power, and site within Holzer's work demonstrates how a singular interpretive approach is insufficient for discussing the multitude of meanings her projects produce. Perhaps most significantly, a fresh analysis of Holzer's work and critical reactions to it challenges the story of modernism and postmodernism and the relationship between these two terms.

This project compares the career of the early 20th century ballet dancer, Vaslav Nijinsky, to Friedrich Nietzsche’s theory of the tragic arts. In The Birth of Tragedy (1872) and elsewhere, Nietzsche argues that artists play the central role in communal mythmaking and religious renewal; he prescribes the healing work of the “tragic artist” to save modernity from the decadence and nihilism he identifies in scientism, historicism, and Christianity. As a dancer, and especially as a choreographer for the Ballets Russes (1912-1913), Nijinsky staged a kinetic response to modern culture that not only displayed shared concerns with Nietzsche, but also, as I argue, allow him to be interpreted as Nietzsche’s archetypical tragic artist. By juxtaposing the philologist-philosopher and dancer-choreographer as artists, I situate the emergence of Modern Art as a nascent movement still bound to Romanticism even while rebelling against it, and as an attempt to reinterpret art in a mythic (and thoroughly modern) context.