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Master's Dissertation
DOI
10.11606/D.93.2012.tde-21122012-112413
Document
Author
Full name
Gabriela Borges Abraços
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2012
Supervisor
Committee
Goncalves, Lisbeth Ruth Rebollo (President)
Peccinini, Daisy Valle Machado
Tirapeli, Percival
Title in Portuguese
Aproximações entre Mario Pedrosa e Gestalt: crítica e estética da forma
Keywords in Portuguese
Abstração
Crítica de arte
Gestalt
Percepção
Abstract in Portuguese
A dissertação visa alçar uma reflexão sobre a produção e contribuição crítica de Mário Pedrosa para a arte brasileira, como também identificar alguns de seus paradigmas artísticos que colaboraram para a consolidação de um arcabouço teórico para História da Arte Moderna, tanto no plano nacional, quanto internacional. Objetiva-se delinear a relação entre o que Pedrosa absorveu sobre as teorias gestálticas e exemplos de como ele as aplicou na tessitura de seu discurso crítico. Ao sedimentar o foco de análise no envolvimento do crítico brasileiro com o tema da psicologia da forma, propõe-se ressaltar as implicações estéticas de seu estudo pioneiro Da natureza Afetiva da Forma na Obra de Arte. Pretende-se, ainda, identificar a intersecção entre a psicologia da forma e a crítica de arte de Mário Pedrosa, propondo a influência destas teorias nos textos sobre a obra do artista americano Alexander Calder, artista considerado pelo crítico, como o emblema da estética abstrata construtiva. Busca-se verificar como as teses da psicologia da forma ofereceram ao crítico, subsídios conceituais para uma nova relação com as premissas constitutivas e cognitivas da estética abstrata.
Title in English
Intersections between Mario Pedrosa and Gestalt: criticism and the aesthetics of form
Keywords in English
Abstraction
Art criticism
Gestalt
Perception
Abstract in English
The thesis aims at reflecting on the critical production and contribution of Mário Pedrosa to Brazilian art, as well as identifying some artistic paradigms, which contributed to the consolidation of a theoretical framework for the History of Modern Art, both at the national and international levels. The purpose here is to outline the relationship between what Pedrosa absorbed about Gestalt-based theories and examples of how he applied them in constructing his critical discourse. By focusing the analysis on the Brazilian critics engagement in the subject of the psychology of forms we propose to emphasize the aesthetic implications of his groundbreaking study Da natureza Afetiva da Forma na Obra de Arte (On the affective nature of forms in the work of art). We also intend to identify the intersection between the psychology of forms and Mario Pedrosas art criticism, pointing the influence of these theories on texts about American artist Alexander Calder, considered by the critic the symbol of constructive abstract aesthetics. We sought to verify how psychology theses on forms offered the critic conceptual material for a new relationship with the constitutive and cognitive premises of abstract aesthetics.
 
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Publishing Date
2013-04-04
 
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