Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-graduação em Arte, 2017. / Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2017-05-12T15:11:32Z No. of bitstreams: 1 2017_RaisaRamosdePina.pdf: 4967638 bytes, checksum: 27dd419e57c194257dc34a344e29e67a (MD5) / Rejected by Raquel Viana (raquelviana@bce.unb.br), reason: Boa tarde, Por favor, corrija os campos orientador e título. Atenciosamente on 2017-05-24T20:04:56Z (GMT) / Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2017-05-25T15:53:58Z No. of bitstreams: 1 2017_RaisaRamosdePina.pdf: 4967638 bytes, checksum: 27dd419e57c194257dc34a344e29e67a (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2017-05-26T20:08:44Z (GMT) No. of bitstreams: 1 2017_RaisaRamosdePina.pdf: 4967638 bytes, checksum: 27dd419e57c194257dc34a344e29e67a (MD5) / Made available in DSpace on 2017-05-26T20:08:44Z (GMT). No. of bitstreams: 1 2017_RaisaRamosdePina.pdf: 4967638 bytes, checksum: 27dd419e57c194257dc34a344e29e67a (MD5) Previous issue date: 2017-05-26 / O pintor italiano do início do século XX Filippo de Pisis criou, ao longo de aproximadamente quarenta anos, composições de natureza-morta sobre a praia, com a paisagem litorânea de plano de fundo: mar, horizonte, céu e, por vezes, uma figura humana solitária contempladora. A frequência dessa produção e o destaque dado à paisagem apesar de as telas serem batizadas como natureza-morta suscitam, em um primeiro momento, questionamentos a respeito da definição do conceito de natureza-morta, que se mostra complexo e flexível ao longo da história da arte, além de problematizar a tensão entre gêneros pictóricos. Mais do que uma simples sobreposição de gêneros – natureza-morta e paisagem –, a composição evidencia o interesse metafísico do pintor, que contribuiu na década de 1910 com a nascente proposta de Giorgio de Chirico. A Escola Metafísica não foi uma vanguarda e os artistas que participaram dela tiveram produções independentes, difíceis de serem aproximadas pela estética, mas similares para além do visível, por meio do deslocamento do sujeito da obra e da revelação do invisível. A partir disso, esta dissertação analisa a metafísica dos elementos praianos recorrentes da paisagem de Filippo de Pisis, em diálogo constante com o gênero de natureza-morta. A tensão entre os gêneros e a metafísica do italiano apontam para uma ressignificação da morte: não seria mais castigo aos humanos pecadores, mas a concretização da promessa divina de vida eterna. / The early 20th-century Italian painter Filippo de Pisis created, over approximately forty years, stilllife compositions on the beach, with coastal landscape backgrounds: the sea, the horizon, the sky and sometimes a lonely human being figure. The frequency of this production and the emphasis given to the landscape, despite the fact that the canvases are called still-life, rise questions about the definition of the concept of still-life, which is complex and flexible throughout the history of Art, in addition to problematizing the tension between pictorial genres. More than a simple overlapping of the genres - still life and landscape - the composition evidences the metaphysical interest of the painter, who contributed in the decade of 1910 with the nascent proposal of Giorgio de Chirico. The Metaphysical School was not a vanguard and the artists who participated in it had independent productions, difficult to approximate by aesthetics, but similar to the visible, through the displacement of the subject of the work and the revelation of the invisible. From this, this dissertation analyzes the metaphysics of the recurrent beach elements of the Filippo de Pisis' landscapes, in constant dialogue with the genre of still life. The tension between the genres and the metaphysics of the Italian point to a re-signification of death: it would be no more punishment for sinful humans, but the concretization of the divine promise of eternal life. / Le peintre italien du debut du XXeme siècle Filippo de Pisis a créé, pendant environ quarante ans, des compositions de nature morte sur la plage avec de paysage côtier au fond: la mer, l’horizon, le ciel et, parfois, une figure humaine solitaire contemplative. La fréquence de cette prodution et l’accentuation données au paysage malgré que les tableaux soient nommés comme nature morte évoquent, dans un premier moment, quelques doutes à propôs de la definition du concept nature morte, qui se montre complexe et flexible à travers l’histoire de l’art, un plus de problématiser la tension entre genres picturaux. Plus qu’un simple superposition de genres – la nature morte et le paysage – la composition evoque l’intérêt métaphysique du peintre, qui a contribué dans la décennie 1910 à la proposition de Giorgio de Chirico. L’École Métaphysique n’était pas un mouvement d’avant-garde et les artistes qui y ont participé ont eu des produtions indépendantes, dificiles à rapprochées par l’esthétique, mais similaires au-delà du visible, à travers le déplacement du sujet de l’ œuvre et de la révélation de l’invisible. A partir de celà, cette dissertation analyse la métaphysique des élements de la plage solvente présents dans le paysage de Filippo de Pisis, em dialogue constant avec le genre de nature morte. La tension entre genres et la métaphysique de l’italian pointent vers une resignification de la mort: ce n’est plus une punition aux humains pêcheurs, mais la concretization de la promesse divine de la vie éternelle.

In dieser Dissertation werden 13 wichtige Werke Giorgio de Chiricos (1888 Volos, Griechenland – 1978 Rom), Filippo de Pisis’ (1896 Ferrara – 1956 Mailand) und Giorgio Morandis (1890 Bologna – 1964 ebenda) eingehend beschrieben und analysiert. Als Ergebnis ergibt sich die zum Teil unerwartete Entdeckung, dass die „noch“ figurative, teilweise als rückgewandt angesehene Kunst der drei untersuchten Künstler eine moderne, immer noch aktuelle Frage nach der besonderen Qualität des Bildes stellt. Ihre Skepsis gegenüber einer festgelegten Art der Wahrnehmung entfaltet sich in einer produktiven Auseinandersetzung mit den Bildern und mit einer Gattung – das Stillleben - einer tradierten Kunsttradition und zeigt Kunst in ihrer Fähigkeit ein besonderes, anderes Sehen anzuregen. Dabei zeigt sich in der Analyse der Bilder die unzertrennliche Beziehung von Sichtbarkeit und Unsichtbarkeit als einen zentralen Moment in der künstleri-schen Produktion. Diese Thematik wird unter anderem in der Verbindung de Chiricos, de Pisis’ und Morandis zu den Schriften Arthur Schopenhauers, Friedrich Nietzsches und Giacomo Leopardis erörtert und speziell mit der Auflösung des klassischen Realitätsbegriffs konfrontiert. Die aus dieser Auflösung resultierende „Krise der Repräsentation“ hat auch die Kunst der Moderne veranlasst, sich kritisch mit dem „Realen“ auseinanderzusetzen und nach neuen Formen der Darstellung, aber auch der Betrachtung zu suchen. Wesentlich ist dabei der Gesichtspunkt, dass die bewusste Reflexion des Sehens und des Wahrnehmens selbst zum Bild werden. Dieser Aspekt wird mithilfe einer phänomenologischen Perspektive und Fragestellung weiter ausgeführt und diskutiert. Der Fokus und die Struktur dieser Dissertation liegen in der konkreten und direkten Auseinandersetzung mit den Werken der drei bildenden Künstler aus denen auch der begriffliche Horizont der Arbeit immanent erschlossen wird. / This study describes and analyses in detail a total of 13 important works by the Italian painters Giorgio de Chirico (1888 Volos, Greece – 1978 Rome), Filippo de Pisis (1896 Ferrara – 1956 Milan) and Giorgio Morandi (1890 Bologna – 1964 Bologna). Its findings include the partially unexpected discovery that the “yet-figurative” aesthetics of these works, which may be valued as backward and even reactionary raise a very modern and relevant question about the special quality of pictures. The works’ scepticism of a fixed kind of perception also emerges in their productive confrontation with canonical, more traditional pictures and in their affirmation of art’s ability to encourage a special, “other” way of seeing. The argument of this study is based on the investigation of the unavoidable relationship between visibility and invisibility as a central moment in de Chirico’s, de Pisis’ and Morandi’s artistic production, and proposes a dialogue with the theories of Arthur Schopenhauer, Friedrich Nietzsche and Giacomo Leopardi, whose influence on the tree painters was of great importance, especially in conjunction with the dissolution of classic concepts of reality. The crisis of representation resulting from this dissolution led in the visual arts to a critical confrontation with the concept of the “Real”. As a consequence of this confrontation news forms of representation and observation emerged. Essential to this transformation is that conscious reflexions about sight and perception became themselves the subjects and objects of pictures. This aspect is also considered from the perspective of phenomenology and its tools of enquiry. The dissertation’s focus and structure derive from the direct confrontation with the pictures, which also informs its conceptual horizon.