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Doctoral Thesis
DOI
https://doi.org/10.11606/T.8.2021.tde-01072021-124213
Document
Author
Full name
Weslei Estradiote Rodrigues
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2021
Supervisor
Committee
Jackson, Luiz Carlos (President)
Pinheiro Filho, Fernando Antonio
Pitta, Fernanda Mendonça
Simioni, Ana Paula Cavalcanti
Title in Portuguese
Modernos arcaísmos: arte e nação no Brasil e em Portugal no final do século XIX pelas obras dos pintores Almeida Júnior e José Malhoa
Keywords in Portuguese
Almeida Júnior
Artes
José Malhoa
Século XIX
Transnacional
Abstract in Portuguese
Trata-se de um trabalho de sociologia histórica que buscou realizar a reconstrução das trajetórias de dois pintores na virada do século XIX para o XX com o intuito de estabelecer uma comparação entre ambos, mas também de cotejar dois sistemas artísticos nacionais. Rigorosamente da mesma geração, José Ferraz de Almeida Júnior (brasileiro, 1850-1899), e José Vital Branco Malhoa (português, 1855-1933), estudaram, respectivamente, nas academias de arte do Rio de Janeiro e de Lisboa entre o final da década de 1860 e meados da década de 1870 e chegaram à vida profissional justamente no auge da crise do sistema acadêmico de ensino artístico. Porém, a despeito dessas coincidências, o trabalho busca lançar reflexões sobre as salutares semelhanças entre parcela significativa de suas obras. Busca-se, assim, compreender que ordem e conjunto de fatores nos dois contextos colaboraram para produzir resultados iconográfico por vezes tão aproximados. A hipótese de fundo que acompanhava essa proposta era a de que Almeida Júnior e Malhoa teriam ocupado posições e exercido funções homólogas em seus respectivos sistemas artísticos. No entanto, mais do que apenas situados em posições comparáveis em sistemas isolados, o trabalho acabou por relacionar os casos e conectá-los a um sistema artístico transnacionalizado e em expansão. Desse modo, a pesquisa produziu uma abordagem que oscila a amplitude do enfoque, ora aproximando para explicar os fenômenos a partir das redes locais, ora expan-indo, procurando situá-los em escala global, apontando assim que diferentes fatores (clientela, padrões de gosto, crítica, conceitos filosóficos, convenções e modelos estéticos em circulação, etc.) competiam e atravessavam os modos de produzir arte no período analisado.
Title in English
Modern Archaisms: art and Nation in Brazil and Portugal in the Late 19th Century by the Works of Painters Almeida Júnior and José Malhoa
Keywords in English
19th century
Almeida Júnior
Arts
José Malhoa
Transnational
Abstract in English
This is a research of historical sociology that sought to reconstruct the trajectories of two painters at the turn of the 19th to the 20th century in order to establish a comparison between them, but also to compare two national artistic systems. Strictly from the same generation, José Ferraz de Almeida Júnior (Brazilian, 1850-1899), and José Vital Branco Malhoa (Portuguese, 1855-1933), studied, respectively, at the art academies of Rio de Janeiro and Lisbon between the end of the 1860s and mid-1870s and reached professional life precisely at the height of the crisis in the academic system of artistic education. However, despite these coincidences, the work seeks to launch reflections on the wholesome similarities between a significant portion of his works. Thus, we seek to understand what order and set of factors in the two contexts collaborated to produce iconographic results sometimes so approximate. The underlying hypothesis that accompanied this proposal was that Almeida Júnior and Malhoa would have occupied positions and exercised similar functions in their respective artistic systems. However, more than just situated in comparable positions in isolated systems, the work ended up relating the cases and connecting them to a transnationalized and expanding artistic system. In this way, the research produced an approach that alternates the wideness of the focus, sometimes approaching to explain the phenomena from local networks, sometimes expanding, seeking to situate them on a global scale, thus pointing out that different factors (clientele, taste patterns, criticism, philosophical concepts, conventions and aesthetic models in circulation, etc.) competed and crossed the ways of producing art in the analyzed period.
 
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Publishing Date
2021-07-01
 
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