A la fin du XIXe siècle et au début du XXe siècle, les artistes japonais s’installant à Paris sont peu nombreux. Cependant, après la Première Guerre mondiale, à partir de 1920, un grand nombre d’artistes japonais arrivent en France. Au total deux cent huit artistes japonais ont figuré dans les Salons parisiens durant la décennie entre 1920 et 1929. La plupart de ces artistes choisissent comme lieu de résidence le quartier de Montparnasse. A cette époque à Paris, dans le milieu des artistes travaillant la peinture à l’huile, dite « yô-ga », nous pouvons distinguer trois courants : Le premier circule autour de Foujita Tsugouharu, artiste de renom associant la peinture occidentale et l’art traditionnel du Japon. Le second regroupe un certain nombre de jeunes artistes, dont Saeki Uzo, attirés par la peinture occidentale et la peinture moderne de Montparnasse. Le troisième courant est de nature académique : dans la lignée de Kuroda Seiki, les artistes suivent l’enseignement des Académies parisiennes. D’autres artistes choisissent la voie d’un art plus indépendant, à l’instar de Tanaka Yasushi, Hasegawa Kiyoshi ou bien Oka Shikanosuke, mais leur nombre reste limité, comme par ailleurs ceux exerçant la technique de la peinture japonaise, dite « nihon-ga », et également ceux pratiquant la sculpture, la gravure, la laque et la tenture. Le résultat suite au dépouillement mené dans les centres de documentation et les fonds photographiques au Japon et en France prouve l’importance de la présence des artistes japonais sur la scène artistique à Paris durant les années 1920 et permet de comprendre les motivations et créations de ces artistes. / During the end of the 19th century and the beginning of the 20th century, not many Japanese artists settled in Paris. However, after the First World War, starting from 1920, a large number of Japanese artists arrived in France. In total two hundred and eight Japanese artists appeared in Parisian Salons during the decade between 1920 and 1929. Most of these artists choose Montparnasse district as their residence. In Paris those days, amongst artists who worked on oil painting called « yô-ga » we can distinguish three movements. The first circulated around Fujita Tsuguharu, a renowned artist who associated the Western painting and the traditional Japanese art. The second gathered a certain number of young artists, such as Saeki Yuzo, who were attracted by the Western painting and the modern painting of Montparnasse. The third movement was of an academic nature: as Kuroda Seiki did, artists were following the teaching of Paris Academies. Other artists choose the route of a more independent art, following the examples of Tanaka Yasushi, Hasegawa Kiyoshi or Oka Shikanosuke, but the number of these artists remains limited, same as those who practiced the technique of Japanese painting, i.e. « Nihon-ga », and also those who practiced sculpture, engraving, lacquer painting, and hangings. The result of going through the data of the documentation centres and photography funds in Japan and in France proves the importance of the presence of Japanese artists on the artistic scenes in Paris during the 1920’s and allows us to comprehend the motives and creations of these artists.

Made available in DSpace on 2014-08-20T13:48:05Z (GMT). No. of bitstreams: 1 CLARICE REGO MAGALHAES_Tese.pdf: 13541381 bytes, checksum: 63af6dbb5b59bafd36dbfbfa38129b8e (MD5) Previous issue date: 2013-02-25 / This thesis is a study about the Fine Arts School of Pelotas Escola de Belas Artes de Pelotas (EBA or EBAP) , a higher education art teaching institution that had great importance to the visual arts development in the city of Pelotas, being at the origin of the present Centro de Artes of the Universidade Federal de Pelotas (CEARTE/UFPEL). The work inserts itself in the teaching institutions history field and is anchored to the theoretical proposal of Cultural History and Education Sociology. The time period examined runs from1949 to 1973, limits that correspond respectively to the year of the foundation and the year when the private school became a federal institution, being incorporated to the Universidade Federal de Pelotas. The thesis aims to understand why EBA embraces academicism as its art style and pedagogical method in the mid 20th century, when modern art is being generally embraced, and keeps this preference until the end of the sixties. It also seeks to ascertain how the School has been kept functioning during its 24 years of existence being private and free of charge. The work has been developed by means of collection and analysis of documents. The main source of the documents are the institution‟s archives, the founder‟s family records, interviews with people that lived the School‟s genesis and evolution, newspaper material of the period, and the founder‟s diary. We reached the conclusion that the EBA not only has been founded but also has been maintained thanks to the efforts of Pelotas‟ cultural elite which supported and effectively participated in the project, always under the leadership of Dona Marina de Moraes Pires. This participation occurred in such a way, in such a close relationship, that EBA configured itself as a reflection of that elite, being made in its image and likeness, with the same values, the same mentality and from the same imagination. Hence, the characteristic academicism of the institution, of its teaching form and artistic production has been determined by factors that existed in the society within which it arise and developed itself, such as conservatism. And the School, being a higher education art teaching institution, legitimates academicism, thus influencing the History of Art in Pelotas. / Esta tese é um estudo sobre a Escola de Belas Artes de Pelotas (EBA ou EBAP), instituição de ensino de arte de nível superior que teve grande importância para o desenvolvimento das artes visuais da cidade de Pelotas, sendo a origem do atual Centro de Artes da Universidade Federal de Pelotas (CEARTE/UFPel). O trabalho se insere no campo de estudo da história das instituições educacionais, e está ancorado na proposta teórica da História Cultural e na Sociologia da Educação. A delimitação temporal é de 1949 a 1973, correspondendo às datas de sua fundação e de sua federalização, quando deixa de ser uma escola particular e passa a fazer parte da Universidade Federal de Pelotas. Os objetivos da tese são entender por que a EBA adota o academicismo como seu estilo e método pedagógico, em meados do século XX, época de adoção do modernismo, e o mantém até o final dos anos sessenta, e também descobrir como a Escola se manteve em funcionamento durante os seus 24 anos de existência, sendo particular e gratuita. O trabalho foi desenvolvido por meio da coleta e análise de documentos. As principais origens dos documentos são o acervo da Instituição, o acervo da família da fundadora, entrevistas realizadas com pessoas que viveram a gênese e a trajetória da Escola, matérias de jornais da época e o diário da fundadora. Conclui-se que a EBA foi não só fundada, como também sustentada, pelos esforços da elite cultural pelotense, que apoiou e participou efetivamente do projeto, sempre sob a liderança de D. Marina de Moraes Pires. Esta participação se deu de tal modo, em uma relação tão estreita, que a EBA se configurou como um reflexo desta elite, sendo construída à sua imagem e semelhança, com os mesmos valores, mentalidade e a partir do mesmo imaginário. Assim, o academicismo característico da Instituição, de sua forma de ensino e de sua produção artística, foi determinado por fatores existentes na sociedade em que surgiu e se desenvolveu, dentre os quais o conservadorismo. E a Escola, sendo uma instituição de nível superior de ensino de arte, legitima o academicismo, influindo assim na História da Arte em Pelotas.