Esta dissertação tem por objetivo analisar aspectos da trajetória de Virgílio Maurício (1892-1937), sobretudo, no que diz respeito à sua atuação artística. Intelectual polígrafo, Maurício teve diversas ocupações, atuando no campo da pintura, da crítica de arte e da medicina. Na passagem do século XIX para o XX, Maurício iniciou seus estudos em arte, sendo premiado pouco tempo depois no Salon da Société des Artistes Français, de 1913, com uma pintura de nu feminino. Intensamente referenciado na imprensa de seu tempo, seu nome não subsistiu à resistência dos pares. Sobre Maurício eram imputadas severas acusações, sobretudo, a de não ser o autor de suas obras. A sua atuação abriu claramente o debate sobre a moralidade artística e a questão da disputa por posições no cenário artístico nacional. Sua produção ainda forneceu elementos para se pensar os modelos de representação do corpo feminino, assim como as recomendações direcionadas ao corpo da mulher, instituídas pela medicina eugenista no século XX. / This dissertation aims to analyze aspects of Virgílio Maurício\'s trajectory (1892-1937), especially with regard to his artistic performance. Intellectual polygraph, Maurício had various occupations, working in the field of painting, art criticism and medicine. In the late nineteenth century to the twentieth, Maurício began his studies in art, being awarded a short time later at the Salon Salon da Société des Artistes Français, in 1913, with a female nude painting. Heavily referenced in the press of this time, his name does not outlived due to the resistance of his pairs. About Maurício severe accusations were attributed primarily to not being the author of his works. His performance clearly opened the debate about artistic morality and the question of competition for positions in the national art scene. His production also provided elements to think about the female body representation models, as well as recommendations directed to the woman\'s body, established by eugenic medicine in the twentieth century.

Thesis (Ph. D.)--Indiana University, Dept. of Curriculum and Instruction, 2006. / "October 2006." "UMI number: 3232583"--T.p. verso. Includes bibliographical references (p. 218-231) Also available online (fee-based).

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This dissertation is a study of selected works of the South African landscape painter Amy Bertha Everard (l 873-1965) with the emphasis on discovering relevant means of interpreting her use of landscape as metaphor. In Chapter One Bertha 's family history and background is traced. This includes developments in her work from the earliest known sketches and paintings, her travels, experiences and artistic training. Chapter Two examines Bertha 's relationships with family and friends, with a section at the end that discusses the candidate 's interpretation of some of the letters that have been made available for this research by the Tatham Art Gallery. This is in order to establish some character traits that may be relevant to the subsequent interpretation of landscape as metaphor in the final chapter. Chapter Three discusses selected paintings with reference to the analysis of their subject matter, composition and technique. Criticism of selected work is made with some reference to Frieda Harmsen 's observations in The Women of Bonnefoi (1980), while some references are made to what appears to be previously undocumented works, discovered during this research. Exhibitions and reception of much of Bertha's work is also covered in this chapter. This is done in order to trace the development of her work within the context of her life experience with regard to her travels and relationships. Chapter Four examines the influences of faith and religion on her life and possibly her art. As a self-appointed Anglican missionary and teacher to labourers on her farms, a great deal of time and energy was spent in this practice. Reference is made to some prevailing religious and social ideologies in southern Africa that may have influenced her activities or that may have been motivating factors in her desire to participate in this field. Chapter Five discusses some of the possible discourses that may have affected Bertha's perception ofart and her decision to pursue this as a career. In the absence of much factual knowledge about the early period of her life in England, it is acknowledged that this interpretation is speculative. A survey of art practices and art institutions in Victorian England is made in an attempt to establish the prevailing conditions in the art world during her youth. Some reference is made to conditions in South Africa that may have influenced Bertha 's perception of art and her decision to pursue this as a career. Chapter Six discusses, in greater detail, aspects of the South African context in which Bertha Everard lived for the greater part of her adult life. A survey is made of the establishment and development of some early art institutions and the people who constituted the art world at that time in South Africa This is in order to discover possible influences on her work and its reception as well as the socio-political and historical context that may have affected her life. As a counterpoint, the work of three of Bertha's contemporary female South African artists - Allerly Glossop, Maggie Laubser and Irma Stem - is discussed. Chapter Seven discusses possible interpretations of landscape as metaphor related to specific paintings. In this chapter, nationalistic and imperialistic ideologies in South Africa are discussed, comparing Bertha's painting with that of R Pierneef, and some possible interpretations of their use of landscape as metaphor. Appendix I comprises two sections . The Summary of Letters is an overview of the letters that were studied for the purpose of this research. Their contents have been divided into sub-headings , related to areas of interest to this research, namely: Bertha's relationship with Edith, Charles, her children and motherhood, relationships (in general) and issues of gender, politics and racism , mission work and faith, landscape and weather, illness, exhibitions and criticism , work and painting. The Everard Letters gives selected quotations from the letters researched, under the same sub-headings. Appendix 2 records an interview with Leonora Everard Haden, by the candidate, in which Everard Haden's written responses are recorded. Volume 2 contains illustrations of most of Bertha 's work that are referred to in the dissertation. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2002.

South African photographer Nontsikelelo “Lolo” Veleko and South African painter Tracy Payne explore different ways of communicating African realities. The visual imagery of these two artists focuses a lot on movement, challenging the rigidity of boundaries set by Western social constructs. In their work, Veleko and Payne critique the limitations of terms such as “authenticity.” It is extremely difficult to portray shifting notions of contemporary African identity in light of the stain of colonial philosophies which have, in times past, exoticised and appropriated the African body and ascribed conventions of “authenticity” to African representations. Undermining the burden of Western boundaries1, Veleko and Payne redefine what it means to operate in Africa today. Veleko seeks additional cultural realities to complicate her identity as a woman living in Africa while Payne uses concepts of movement to question the validity of structures which advocate an either/ or binary such as “East” and “West” and “masculinity” and “femininity”. By subtly merging aspects of these binaries in their representations, Veleko and Payne bring transnational possibilities to light by undermining the restrictions inscribed in the social and political history of (South) Africa with regard to collective and individual identities. Constructs of gender have contributed to a heightened sense of “African” “masculinity,” forming a stereotype of the African body which is difficult to break free from. Considering the notion of transnationalism and the issue of moving beyond boundaries, borrowing aspects of different cultures in attempt to better define a sense of self, Veleko and Payne engage in the sampling of different lifestyles and perspectives to better define their individualities. This thesis seeks to provide an analysis of the visual language used by Veleko and Payne to promote fluid “African” identities.

Italian artists working in eighteenth-century Britain played a significant role in the country's developing interest in the fine arts. The contributions of artists arriving before mid-century, including Pellegrini, Ricci, and Canaletto, have been noted, but the presence of a larger number of Italians from mid-century is seldom acknowledged. Increasing British wealth and attention to the arts meant more customers for immigrant Italian artists. Bringing with them the skills for which they were renowned throughout Europe, their talents were valued in Britain. Many stayed for prolonged periods, raising families and becoming active members in the artistic community. In a thriving economy, they found opportunities to produce innovative works for a new clientele, devising histories, landscapes, portraits, and prints to entice buyers. The most successful were accomplished networkers, maintaining cordial relationships with British artists and cultivating a variety of patrons. They influenced others through teaching, through formal and informal exchanges with colleagues, and through exhibition of their works that could be studied and emulated.

Submitted by DANIELLE MANOEL DOS SANTOS PEREIRA null (30278641814) on 2017-05-19T14:55:01Z No. of bitstreams: 1 TESE (Final).pdf: 35554767 bytes, checksum: aed74bf8ff15e822c2ad95b7784ed554 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-05-19T14:59:34Z (GMT) No. of bitstreams: 1 pereira_dms_dr_ia.pdf: 35554767 bytes, checksum: aed74bf8ff15e822c2ad95b7784ed554 (MD5) / Made available in DSpace on 2017-05-19T14:59:34Z (GMT). No. of bitstreams: 1 pereira_dms_dr_ia.pdf: 35554767 bytes, checksum: aed74bf8ff15e822c2ad95b7784ed554 (MD5) Previous issue date: 2017-03-23 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / A presente pesquisa tem por objetivo buscar, nas fontes primárias, as autorias das pinturas ilusionistas de algumas igrejas coloniais do Estado de São Paulo. Foram selecionadas as igrejas das cidades de São Paulo - igreja da Venerável Ordem Terceira de São Francisco da Penitência da cidade de São Paulo (pintura no forro da capela-mor, medalhão da nave e zimbório) e a igreja da Venerável Ordem Terceira de Nossa Senhora do Carmo (pintura no painel do forro da sacristia, biblioteca, nave, coro e capela-mor); na cidade de Itu - igreja Matriz de Nossa Senhora da Candelária (pintura no forro da capela-mor) e a igreja de Nossa Senhora do Carmo (pintura no forro da capela-mor, nave e o forro em caixotão da “capela velha”); na cidade de Mogi das Cruzes - igreja de Nossa Senhora do Carmo (pintura no forro da capela-mor) e a igreja da Ordem Terceira de Nossa Senhora do Carmo (pinturas no forro da capela-mor, nave e vestíbulo). Com base em tal documentação é possível discutir e rever as atribuições estabelecidas por Frei Adalberto Ortmann (1951) e Mário de Andrade (1963), legitimando ou refutando-as. Inventariar e/ou catalogar os pintores atuantes entre as cidades de São Paulo, Itu e Mogi das Cruzes do período colonial e os pintores que interferiram nas obras primitivas a partir de 1850. Realizar um inventário dos forros pintados no Estado de São Paulo (períodos barroco e rococó), estabelecendo fases para a pintura paulista colonial dentro de seu conjunto e contexto, apresentando as obras e as qualidades de cada grupo tipológico, consagrando-as dentro do território brasileiro num conjunto único de obras de alta qualidade que escapam à tradicional linha evolutiva. / This resarch aims to search into the primary sources the ilusionist paintings’ authorship of some colonial churches of São Paulo State. In São Paulo city - Venerável Ordem Terceira de São Francisco da Penitência da cidade de São Paulo church (paintings on the ceiling of the presbytery, nave medallion and the dome) and Venerável Ordem Terceira de Nossa Senhora do Carmo church (paintings on the panel of the ceiling of the sacristy, library, nave, choir and presbytery); in Itu city - Nossa Senhora da Candelária main church (painting on the ceiling of the presbytery) and the Nossa Senhora do Carmo church (paintings on the ceiling of the presbytery, nave, and the panels ceiling of the “old chapel”); in Mogi das Cruzes city - Nossa Senhora do Carmo church (painting on the ceiling of the presbytery) and Ordem Terceira de Nossa Senhora do Carmo church (paintings on the ceiling of the presbytery, nave and vestibule of the sacristy). Based on these documents, it is possible to discuss an to review the atributions established by Frei Adalberto Ortmann (1951) and Mário de Andrade (1963), legitimating or refuting them. To catalogue the active painters in São Paulo, Itu and Mogi das Cruzes cities in the colonial period and the painters interfered in the primitive works since 1850. To make a catalogue of the ceilings painted in São Paulo State (baroque and rococo period), establishing phases for the colonial paulista painting inside the whole setting and context, presenting the works and the qualities of each typological group, consecrating them in the brazilian territory in a single group of high quality works which escaped from the traditional evolutive line. / FAPESP: 2013/04082-1

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Orientador: Luciano Migliaccio / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-17T07:44:45Z (GMT). No. of bitstreams: 1 Silva_RosangeladeJesus_D.pdf: 63097274 bytes, checksum: 84af1c370116f80dd2d0aa92aa69e13e (MD5) Previous issue date: 2010 / Resumo:Nos últimos anos o interesse pelo trabalho de Angelo Agostini vem crescendo, sobretudo no que tange a sua atuação política e abolicionista na imprensa oitocentista. No entanto os aspectos ligados a sua obra como pintor e crítico de arte são apenas brevemente mencionadas, mesmo estando estas em diálogo com seu entendimento político. Essa pesquisa constatou que as questões ligadas à arte tiveram um espaço relevante no trabalho jornalístico de Agostini, da mesma maneira que sua atividade como pintor, embora pouco mencionada, estaria presente em toda a sua vida profissional, além de ter precedido seu início na imprensa ilustrada brasileira. Observa-se um discurso de valorização da arte e do artista, considerados peças de grande importância na construção da nação bem como da aproximação do Brasil aos ideais civilizacionais europeus. Este estudo procura evidenciar o artista Angelo Agostini, pois acreditamos que sua formação artística fornece a base para as ilustrações dos periódicos com os quais colaborou, o que pode ser observado, por exemplo, na manipulação da linguagem pictórica. O trabalho gráfico aparece em diálogo, em diversos momentos, com suas criações plásticas, ambos reveladores de debates contemporâneos ao artista. Apresenta-se neste estudo a análise da prática artística de Angelo Agostini, bem como do discurso que a acompanha, empreendida tanto em seu trabalho gráfico quanto pictural. / Abstract:In the last years the interest for the work of Angelo Agostini is growing, overcoat as regards his political acting and abolition ideas in the press. However the connected aspects his work as painter and critic of art are mentioned only shortly, even being this in dialog with his political understanding. This inquiry noted that the questions connected with the art had a relevant space in the journalistic work of Agostini, of the same way that his activity like painter, though little mentioned, it would be present in his professional life, besides having preceded his beginning in the illustrated Brazilian press. There is observed a speech of increase in value of the art and of the artist, thought pieces of great importance in the construction of the nation as well as of the approximation of Brazil to the ideals European of civilization. This study tries to show the artist Angelo Agostini up, since we believe that his artistic formation supplies the base for the illustrations of the magazines with which it collaborated, which can be observed, for example, in the handling of the pictorial language. The graphic work appears in dialog, at several moments, with his plastic creations, both revealers of contemporary discussions to the artist. There shows up in this study the analysis of the artistic practice of Angelo Agostini. / Doutorado / Historia da Arte / Doutor em História

Orientador: Luiz Cesar Marques Filho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-11T19:28:27Z (GMT). No. of bitstreams: 1 Berriel_MarinaJorge_M.pdf: 703220 bytes, checksum: a205b05f50e77a9680b4bfe65d3ab7d6 (MD5) Previous issue date: 2008 / Resumo: É a realização de uma tradução comentada da obra La Vita di Michelangelo Buonarroti, escrita por Ascanio Condivi, referência na historiografia da arte clássica. No desenvolvimento desta tradução, a comparação de determinados aspectos da obra de Condivi com Vita di Michelangelo Buonarroti, de Giorgio Vasari e, secundariamente, com as biografias posteriores. Análise da função que algumas questões desempenham neste universo. Em especial a forma com a qual as crenças astrológicas e religiosas da época influenciaram as discussões sobre arte e sobre a posição social do artista. Podemos dizer que a dicotomia entre as duas principais visões de arte do período - a coordenada por Michelangelo, e a de Rafael - se justificam com a explicação astrológica quando tratam de questões como a predestinação do indivíduo e o quanto isto altera sua condição de artista. Outra questão é a reincidência de dois temas centrais para Michelangelo, que aparecem na última fase de sua vida: o terror (expresso na arte o sentimento de incomensurabilidade divina em relação ao humano), e a piedade (identificável na série de Pietà realizadas neste período). Secundariamente, discussões como a necessidade de Vasari e Condivi em estabelecer uma origem nobre para a família Buonarrotti, entre outras questões que possam surgir no desenvolvimento do trabalho / Abstract: This work is an annoted translation of the book La Vita di Michelangelo Buonarroti, written by Ascanio Condivi, which is a reference in Classic Art¿s historiography. In the development of this translation, a comparison of determinated aspects of both Vite di Michelangelo, one written by Giorgio Vasari and the other written by Ascanio Condivi is made. Among with these two versions of Vite di Michelangelo Buonarroti other biographies on the same matter written later on are also used as material of comparison on a secondary basis. An analises is made on the role that some questions represent on this particular universe. Specially the way in which religious and astrologycal beliefs of that time have inffluenced the discussions on the artist¿s social position. We may say that the dicotomy between the two most important points of view on Art of that period ¿ one belonging to Michelangelo Buonarroti, and the other belonging to Rafaello ¿ are justified by astrologycal explains when dealing with matters such as predestination of the individual and how it alters his condition as an artist. Another matter is the reincidence of two central themes for Michelangelo on his latest years: the terror (expressed in art as the feeling of unmeasurement of the divine as opposed to humane), and pity (indentifyable in the series of Pietà made in thet period). Secondly, discussions as Condivi¿s need to establish a nobel origin to the Buonarroti¿s family, among other matters that have come up during the development of this work / Mestrado / Historia da Arte / Mestre em História