Esse estudo trata de seis variações do preto na pintura. O trabalho apresenta telas de Edouard Manet, Vincent van Gogh, Henry Matisse, Iberê Camargo, Eduardo Sued e Pierre Soulages. A pesquisa das obras e procedimentos poéticos desses pintores visa a indicar para diversas maneiras como o preto, não mais usado para o sombreado, se transforma em áreas de cor e como esses campos cromáticos atuam nas pinturas. A análise mostra que a cor preta, na qual há variações de tonalidade e saturação, pode ser usada como um meio de tensão cromática na superfície pictórica, como um elemento expressivo, ou para criar uma nova espacialidade para além do plano do quadro. Vale a pena notar que esses usos não são mutuamente exclusivos e, por exemplo, o preto que cria a tensão cromática pode ser expressivo e criar uma nova espacialidade. / This essay deals with six variations of black in painting. Reaserch on the production and poetic procedures by Eduoard Manet, Vincent van Gogh, Henry Matisse, Iberê Camargo, Eduardo Sued and Pierre Soulages, indicates several manners where black, contrary to its use as a shadowing component, transforms itself in areas of color. The manner in which the cromatic fields act upon the painting is analised and show that the color black, with its variations in tone and depth, may be used as an element of expession; as a means for chromatic tension over the pictures surface or for the production of a new spaciality beyond its surface. These uses are not mutually exclusive and, as where black creates chromatic tension, it may also be expressive and generate a new spaciality.

Esse estudo trata de seis variações do preto na pintura. O trabalho apresenta telas de Edouard Manet, Vincent van Gogh, Henry Matisse, Iberê Camargo, Eduardo Sued e Pierre Soulages. A pesquisa das obras e procedimentos poéticos desses pintores visa a indicar para diversas maneiras como o preto, não mais usado para o sombreado, se transforma em áreas de cor e como esses campos cromáticos atuam nas pinturas. A análise mostra que a cor preta, na qual há variações de tonalidade e saturação, pode ser usada como um meio de tensão cromática na superfície pictórica, como um elemento expressivo, ou para criar uma nova espacialidade para além do plano do quadro. Vale a pena notar que esses usos não são mutuamente exclusivos e, por exemplo, o preto que cria a tensão cromática pode ser expressivo e criar uma nova espacialidade. / This essay deals with six variations of black in painting. Reaserch on the production and poetic procedures by Eduoard Manet, Vincent van Gogh, Henry Matisse, Iberê Camargo, Eduardo Sued and Pierre Soulages, indicates several manners where black, contrary to its use as a shadowing component, transforms itself in areas of color. The manner in which the cromatic fields act upon the painting is analised and show that the color black, with its variations in tone and depth, may be used as an element of expession; as a means for chromatic tension over the pictures surface or for the production of a new spaciality beyond its surface. These uses are not mutually exclusive and, as where black creates chromatic tension, it may also be expressive and generate a new spaciality.

Made available in DSpace on 2016-04-28T20:38:33Z (GMT). No. of bitstreams: 1 Guilherme Aparecido Costa Alexmovitz.pdf: 678546 bytes, checksum: bb8ef8aef047a8522a2faa45f5e8a7dc (MD5) Previous issue date: 2012-10-23 / Due to the geniality and tragic history of the Dutch painter Vincent van Gogh, psychiatrists, psychologists, and scholars from around the world have written several works in order to explain the suffering that culminated in his suicide. The present work aims to approach that suffering through the existential-phenomenology approach, which allows one to understand the suffering of the painter from his own life experience. A total of one hundred and fifty-six letters sent to his brother Théo, from 1872 to 1880, was analyzed and understood through Martin Heidegger s concept of attunement, which allowed the understanding of suffering as a way of being in the world. From this theoretical framework, I elected three possible forms of the artist s suffering different attunements that were present in several moments of this particular period of his life: the weight of the other, nostalgia, and fanaticism. The result of the analysis pointed to the existential meaning behind the painful Van Gogh s way of being in the world: the search for belonging / Devido à genialidade e à trágica história do pintor holandês Vincent van Gogh, psiquiatras, psicólogos e estudiosos do mundo todo produziram estudos para explicar o sofrimento que culminou em seu suicídio. O presente trabalho objetiva aproximar-se deste sofrimento por meio da abordagem da Fenomenologia Existencial, visando compreender o sofrer do pintor a partir de sua própria experiência de vida. Um total de cento e cinquenta e seis cartas enviadas por ele ao seu irmão, Théo, no período de 1872 a 1880, foi analisado tendo como referência o conceito de tonalidade afetiva, de Martin Heidegger, que permitiu compreender o sofrimento enquanto um modo de estar-no-mundo. A partir deste referencial teórico, foi possível eleger três tonalidades afetivas que se fizeram presentes em vários momentos deste período específico de sua vida: o peso do outro, a nostalgia e o fanatismo. O resultado da análise aponta para o sentido existencial deste modo sofrido de estar no mundo de Vincent van Gogh: a busca pelo pertencimento

La pintura como expresión de lo interior se ha manifestado a lo largo de la historia humana. Si bien en el siglo XX la motivación por el tema de la expresión interior se ha vuelto un criterio central en el arte esto no quiere decir que no se haya llevado a cabo en épocas anteriores. Por ejemplo, las culturas prehispánicas o los pintores de la Edad Media reflejaron la interioridad del hombre de su época en la realización de las formas, los colores, los símbolos, etc., quizá no de la manera que vemos en el siglo XX sino de manera más sutil. La expresión de lo interior se basa en fundamentos innatos a la naturaleza humana como son la individualidad, el sentimiento, las emociones, el deseo de libertad, la angustia vital y la soledad creadora. Esto se da con el contexto histórico y filosófico de cada época. A partir de esta naturaleza es que el hombre ha sentido la necesidad de expresarse: materializando su esencia; es decir permitiendo ver todo lo que lo mueve internamente. Plasma así en sus obras la percepción de la vida mediante el filtro de su interioridad. Bajo esta visión general como expresión interna del ser humano se sustenta esta investigación y el trabajo plástico que se presenta a consideración. La investigación busca definir la expresión de lo interior mediante reflexiones múltiples. Pasa revista a los fundamentos que la sostienen como búsqueda indispensable para materializar la esencia humana.

Dans la seconde moitié du 19ème siècle, des liens particuliers se tissent entre art et médecine : la médecine moderne se tourne vers les œuvres pour y découvrir une clinique, et en retour certains peintres et écrivains se nourrissent de ces nouveaux savoirs pour renouveler leurs pratiques. Mais quand la physiologie prend l’art pour objet, qu’elle analyse les œuvres, leur création et leur réception, l’art peut être loué, ou à l’inverse condamné, et les figures de l’artiste et du médecin tendent à se confondre, ou à s’opposer. Notre travail porte sur ce qui rend possible cette alliance et ces conflits. Nous interrogeons pour cela l’idée de visibilité commune à l’art et à la clinique, le concept de pathologie, et le problème de la norme. Il apparaît alors que la figure de l’artiste anormal, « malade », est un héritage de la mélancolie traditionnelle : sa valeur, qu’elle soit positive ou négative, se comprend toujours dans un contexte spécifique et varie en fonction d’une série de déplacements. Par l’analyse des discours et de quelques œuvres représentatives, nous entendons alors non seulement rendre compte de la physiologie de l’art en France à cette époque, dans ses différentes versions, mais encore montrer qu’elle est un prisme privilégié pour comprendre certaines œuvres. / In the second half of 19th century, specific bonds are forged between art and medicine: the modern medicine turns towards artworks and discovers there a clinic. In return, some painters and writers feed themselves on new knowledges to revitalize their practices. But as physiology takes art as its object, analyzes artworks, creation and reception, art can be praised, or conversely condemned. Thus, the figures of the artist and of the physician tend to join or to oppose themselves. Our work deals with what make this union and these conflicts possible. We address the idea of visibility, common to art and clinic, the concept of pathology, and the problem of norm. Thus, it appears that the figure of the abnormal artist, the “sick artist’’, is a legacy of the traditional melancholy: its value, positive or negative, is always understood in a specific context and changes according to a set of transfers. As we analyse discourses and some representative artworks, we intend not only to give an account of physiology of art as it appears in France at this time, but also to show that it is a privileged prism to understand a certain kind of artwork.

Orientador: Jorge Sidney Coli Júnior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-26T22:41:45Z (GMT). No. of bitstreams: 1 Martinez_FelipeSevilhano_M.pdf: 14453606 bytes, checksum: 268602accf94907a8381f9d4ac8e3c3c (MD5) Previous issue date: 2015 / Resumo: O Museu de Arte de São Paulo (MASP) possui cinco obras do pintor holandês Vincent van Gogh em sua coleção. São elas: Natureza Morta com Vaso, Prato e Flores; O Escolar; O Banco de Pedra no Asilo em Saint-Rémy; A Arlesiana; O Passeio ao Crepúsculo. O presente trabalho estuda as questões suscitadas por tais obras, de modo a compreender aspectos fundamentais sobre a obra e a biografia de van Gogh. A partir das obras da coleção, o presente estudo aborda questões que variam desde um problema de atribuição, até aspectos concernentes à mitologia criada em torno do pintor, marcada pela loucura e pelo suicídio / Abstract: There are five pictures by the Dutch painter Vincent van Gogh at the permanent collection of the Museu de Arte de São Paulo. They are: The Still Life with Vase Plate and Flowers; The Schoolboy; The Stone Bench at the Saint-Rémy Asylum; L¿Arlesienne; The Evening Walk. The present study aims to answer the questions posed by these artworks, which vary from an attribution problem to issues concerning the mythology created around the painter, marked by madness and suicide / Mestrado / Historia da Arte / Mestre em História

Thesis (MA VA (Visual Arts))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: The primary function of paintings and novels in Western culture has historically been considered the depiction or description of reality. Over the course of the last century, however, the inherent reflexivity of both art and literature has become progressively more insistent and programmatic, in such a way as challenges the relationship between form and the world. A re-thinking of the role of representation is thus central to both modernism and postmodernism. This thesis is an investigation into the relationship between modern and postmodern reflexivity. Through the close examination of four artists who serve as case studies, I argue that literary and artistic modernism‟s emphasis on form and subjectivity, as well as the tendency of postmodern art and writing to flaunt its own status as rhetoric/fiction, are different facets of a continuous response to a rapidly changing world. Using the insights of post-structuralist theory, I suggest that whereas modernism‟s reflexive drive is directed towards truth and self-knowledge, postmodern reflexivity is centrally concerned with the elusive, continually shifting nature of meaning. What emerges in the light of the practice of individual artist and authors, however, is that the modern and postmodern reflexive modes are not necessarily mutually exclusive, but can co-exist, producing a vital and necessary tension. / AFRIKAANSE OPSOMMING: Beskrywing en uitbeelding van die werklikheid word geskiedkundig as die kernfunksies van skilderye en die roman in die Westerse kultuur beskou. Gedurende die laaste eeu het die inherente refleksiwiteit van beide kuns en letterkunde toenemend meer programmaties en sistematies geword. Dit het geskied op „n wyse wat die verhouding tussen vorm en die wêreld uitdaag. „n Herbesinning van die rol van uitbeelding of representasie is gevolglik van sentrale belang vir beide modernisme en postmodernisme. Hierdie tesis is „n ondersoek na die verwantskap tussen moderne en postmoderne refleksiwiteit. Deur „n noukerige ondersoek van vier kunstenaars se werk, stel ek voor dat die letterkundige en artistieke klem van modernisme op vorm en subjektiwiteit, sowel as die gebruiklike kenmerk van retoriek/fiksie, verskillende aspekte is van „n voortdurende weerkaatsing op „n vinnig veranderende wêreld is. Deur die teoretiese perspektiewe van post-stukturalisme toe te pas, stel ek voor dat modernistiese refleksiwiteit neig na die waarheid en selfkennis, terwyl postmoderne refleksiwiteit fokus op die onbepaalde en veranderlike aard van betekenis. Nietemin, uit my kritiese beskouing van die kreatiewe praktyk van afsonderlike kunstenaars en skrywers blyk dit dat die modernistiese en postmodernistiese refleksiewe benaderinge nie noodwendig mekaar uitsluit nie, maar saam kan bestaan en „n dinamiese en noodsaaklike spanning skep.