Journal articles: 'Brazilian Art'

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Ribeiro da Silva Bevilacqua, Juliana. "Afro-Brazilian Art." Critical Interventions 9, no. 2 (May 4, 2015): 73–76. http://dx.doi.org/10.1080/19301944.2015.1110967.

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Alvarez, Mariola V. "Minor Transnational Brazilian Art." Third Text 30, no. 1-2 (March 3, 2016): 76–89. http://dx.doi.org/10.1080/09528822.2016.1265746.

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AP, Moreno. "Brazilian Contemporary Art in the International Art Market." World Journal of Social Science Research 10, no. 4 (October 14, 2023): p74. http://dx.doi.org/10.22158/wjssr.v10n4p74.

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With changes in the art world, the Brazilian Contemporary art becomes an interesting subject to be analyzed in its relationship to the art market dynamics. The international art market has been growing since late 90s thanks to globalization. In this sense, the problematization of the research lies in an economical perspective of the art market to understand Brazilian Contemporary art internationalization through art fairs, biennials, art galleries and auction houses. With this analysis, the objective is to present an opinion about the panorama of Brazilian Contemporary art and its international market insertion.

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Machado, Arlindo. "Video Art: The Brazilian Adventure." Leonardo 29, no. 3 (1996): 225. http://dx.doi.org/10.2307/1576251.

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Gullar, Ferreira. "An Overview of Brazilian Art." Diogenes 48, no. 191 (September 2000): 109–14. http://dx.doi.org/10.1177/039219210004819109.

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Marques, Luiz, Claudia Mattos, Mônica Zielinsky, and Roberto Conduru. "Is there a brazilian art?" PORTO ARTE: Revista de Artes Visuais 22, no. 36 (December 30, 2017): 263. http://dx.doi.org/10.22456/2179-8001.80119.

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Cardoso, Rafael. "The Brazilianness of Brazilian Art." Third Text 26, no. 1 (January 2012): 17–28. http://dx.doi.org/10.1080/09528822.2012.647643.

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Araujo, Emanoel. "Thirty Years of Afro-Brazilian Art." Critical Interventions 9, no. 2 (May 4, 2015): 149–55. http://dx.doi.org/10.1080/19301944.2015.1111001.

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Chiarelli, Tadeu. "The object in emerging Brazilian art." Review: Literature and Arts of the Americas 25, no. 44 (January 1991): 45–53. http://dx.doi.org/10.1080/08905769108594308.

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Xavier, Rafael Branco. "A desconsideração na arbitragem? O consentimento atrás do véu." Revista Brasileira de Arbitragem 17, Issue 66 (June 1, 2020): 35–66. http://dx.doi.org/10.54648/rba2020075.

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The purpose of this article is to discuss the possibility of the application of the disregard doctrine in arbitration. The intent is to answer two questions regarding the application of art. 50 of the Brazilian Civil Code in arbitral proceedings. The first, whether the doctrine could be used to bound a third party which had not consented to the arbitration clause. The second, whether the disregard doctrine could be applied by the arbitrators when ruling on substantive issues of the dispute. The conclusion is negative to the first, as the consent is essential to the enforceability of the arbitration process, in light of art. 3 and 4 of the Brazilian Arbitration Act, and positive to the second, because the disregard doctrine contemplates a rule of liability determination that is applicable when the abuse of legal entity occurs. In sum, Brazilian Law does not admit the abuse of the legal entity as a criterion to make the arbitral process binding, as the analysis about the consent cannot be mixed with the requirements of the disregard doctrine. Disregard doctrine; Civil Code, art. 50; criteria; liability determination; party and third-party; consent; Brazilian Arbitration Act, arts. 3 and 4.

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Arnt Ramos, André Luiz, and Marcos Catalan. "Contractual interpretation in Brazil under the light of the 2019 Economic Freedom Act." Acta Iuridica Resoviensia 39, no. 4 (December 2022): 19–33. http://dx.doi.org/10.15584/actaires.2022.4.2.

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The following article scrutinizes innovations brought by the Brazilian Economic Freedom Act to Art. 113 of the Brazilian Civil Code. Departing from a literature review, it outlines several aspects of these innovations, while underlining the principles of contract law – more particularly, private autonomy and the social function of contract. In its concluding remarks, the survey sets forth a call for debate on some pressing issues concerning Brazilian Private Law under the light of the Economic Freedom Act.

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Zingano Kuhn, Tanara. "State-of-the-art on monolingual lexicography for Brazil (Brazilian Portuguese)." Slovenščina 2.0: empirical, applied and interdisciplinary research 7, no. 1 (November 13, 2019): 98–112. http://dx.doi.org/10.4312/slo2.0.2019.1.98-112.

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This paper is a minireview of the current status of monolingual lexicography in Brazil. Firstly, a brief contextualization of the origins of Brazilian Portuguese dictionary-making is provided. Then, an account of contemporary monolingual dictionaries is given and a more detailed overview on print, digital, spelling, and school dictionaries is presented. Next, research into dictionary use is reviewed. Finally, the perception among the Brazilians with regards to corpora and use of crowdsourcing in lexicography is discussed.

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Alvarez, Mariola V. "Machine Bodies: Performing Abstraction and Brazilian Art." Arts 9, no. 1 (January 19, 2020): 11. http://dx.doi.org/10.3390/arts9010011.

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In 1973, Analívia Cordeiro produced the videodance M3x3. Filmed in a Brazilian television studio and choreographed by Cordeiro with a computer, the work explores the limits of the human body through abstraction and its inhabitation of a new media landscape. Tracing the genealogy of M3x3 to the history of videodance, German and Brazilian art, and Brazilian politics, the article spotlights the media central for its conceptualization, production, and circulation to argue for how the video theorizes the posthuman as the inextricable entanglement of the body and technology.

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Melim Gadelha, Hayle. "The Art of Diplomacy." Brasiliana: Journal for Brazilian Studies 11, no. 1 (September 25, 2022): 80–104. http://dx.doi.org/10.25160/bjbs.v11i1.132641.

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The show ‘The Art of Diplomacy – Brazilian Modernism Painted for War’ was opened on 5th April and displayed until 22nd June 2018 at the Sala Brasil, the exhibition space of the Brazilian Embassy in Trafalgar Square, London. This was a partial restaging and tribute to the 1944-1945 ‘Exhibition of Modern Brazilian Paintings’, held at the Royal Academy of Arts in London and seven other major galleries across the United Kingdom. Out of the one-hundred-sixty eight original artworks, twenty-four paintings by twenty artists were found in the public galleries of seventeen cities throughout the UK. They were shown, together with a video produced for this occasion and several historical documents unearthed during a four-year academic research project. The investigation for this meta-exhibition inspired this author’s PhD dissertation on “Public Diplomacy on the Front Line: The Exhibition of Modern Brazilian Paintings within Brazil’s Second World War Foreign Policy”, for which this essay serves as a sort of epilogue. The dissertation hermeneutically examined the diplomatic motivations and outcomes of this wartime initiative, concluding that it was a public component of a foreign policy designed to increase Brazil’s prestige in the aftermath of WW2. It also demonstrates that the exhibition was a successful endeavour, although its outcomes were weakened by the political discontinuity that followed the replacement of its mastermind, Minister Oswaldo Aranha (1894-1960), and President Getúlio Vargas (1882-1954). The TAoD, which was diplomacy-driven as much as the exhibition that it celebrated, took place within a historical, political and cultural context entirely different from the one in which the original show came into existence. The purpose of this paper is to describe how the 2018 project evolved vis- à -vis its diplomatic background, while also forming a corpus for future analyses and interpretations.

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Casale Taylor Basker, J. "An Artist-Scholar Finds Beauty from Ashes: Brazilian Artist Duda Penteado." Religion and the Arts 18, no. 1-2 (2014): 222–38. http://dx.doi.org/10.1163/15685292-01801011.

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‭Duda Penteado’s Beauty for Ashes Project addresses the dilemma of contemporary artists finding their own voice after the art movements of the twentieth century. His background as a Brazilian and a believing Christian gives him a unique response. He appropriates and transforms the work of great modern artists without a need for elaborate theoretical justification. Much influenced by Paulo Friere and his belief in the significance of art for social change, Duda is involved in art projects with students and the public around the world. In these projects, ideas are developed, and creative art installations are built that he hopes will inspire people to search deeper for meaning in life. He believes that faith is not a process of convincing but an encounter. Curiosity must be sparked to begin the process for each individual to make the journey. Duda is convinced that art holds a significant role in society and that the artistic image expresses the essence of society. His work represents a genre of artwork derived from ethnic tradition and religious experience. Duda believes that great art comes from within and is the true language of the soul. To create art is an act of faith in itself.‬

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Zimmerman, Rachel A. "Racial Democracy, Visibility, and the History of Colonial Brazilian Art." Arts 12, no. 4 (June 21, 2023): 125. http://dx.doi.org/10.3390/arts12040125.

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Since the nineteenth century, the history of colonial Brazilian art has highlighted the work of Afro-Brazilian men, specifically those with a white father and Black or parda mother. Antonio Francisco Lisboa, known as Aleijadinho, is the subject of countless books, exhibitions, television shows, and films. In addition to such famous men, dozens of other Afro-Brazilian artists are known and much scholarship has examined iconography and style with ties to African cultures. This extensive and important work has led to major exhibitions demonstrating Afro-Brazilian contributions as central to Brazil’s past and present. Although intended as celebratory, the language and framing structures scholars use to discuss Afro-Brazilian artists from the colonial period are founded in white supremacy. The conception of Brazil as a nation where everyone is of mixed race, and therefore devoid of racism, is partly responsible for Aleijadinho’s fame. This essay will clarify how this narrative of harmonious racial mixing and the focus on the visibly African perpetuates white supremacist interpretations of colonial Brazilian art and limits the study of Afro-Brazilian artists’ work. I will propose ways to reframe workshop practice and improve connoisseurship using, among other cases, the lawsuit directed toward the white painter Manoel da Costa Ataíde that named the Afro-Brazilian artists who created one of his commissions. The essay builds on existing scholarship, acknowledging the violence of enslaving artists and promoting lines of inquiry that consider the agency and cultural positioning of Afro-Brazilian artists and patrons as subtle, ubiquitous, and heterogeneous.

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Bay, Dora Maria Dutra. "An Art Education Network: A Brazilian Experience." International Journal of Art Design Education 18, no. 2 (May 1999): 217–20. http://dx.doi.org/10.1111/1468-5949.00177.

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Cordas, T. A. "Brazilian Psychiatry: The State of the Art." European Psychiatry 12, S2 (1997): 154s. http://dx.doi.org/10.1016/s0924-9338(97)80434-8.

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Thums, Willyam. "Markers of Blackness in Brazilian Black Art." Confluencia: Revista Hispánica de Cultura y Literatura 31, no. 2 (2016): 198–99. http://dx.doi.org/10.1353/cnf.2016.0021.

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Krull, Marcos, Cristiano C. Alves de Lima, Magno L. T. de Oliveira, Alexandre C. Carneiro, Eduardo M. da Silva, and Francisco Barros. "State of the art of Brazilian ecotoxicology." Integrated Environmental Assessment and Management 7, no. 4 (September 19, 2011): 690–91. http://dx.doi.org/10.1002/ieam.267.

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Попова, Елена, and Elena Popova. "BRAZILIAN NATIONAL PLAN ON EDUCATION: HISTORY AND MODERNITY." Journal of Foreign Legislation and Comparative Law 4, no. 2 (April 20, 2018): 1. http://dx.doi.org/10.12737/art.2018.2.3.

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Alckmin-Carvalho, Felipe, Henrique Pereira, António Oliveira, and Lucia Nichiata. "Associations between Stigma, Depression, and Adherence to Antiretroviral Therapy in Brazilian Men Who Have Sex with Men Living with HIV." European Journal of Investigation in Health, Psychology and Education 14, no. 6 (May 23, 2024): 1489–500. http://dx.doi.org/10.3390/ejihpe14060098.

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Adherence to antiretroviral therapy (ART) is a complex and multi-determined process that is influenced by psychosocial variables. Although international studies have pointed to the adverse impact of HIV stigma, sexual stigma, and depression on ART adherence among men who have sex with men (MSM) with HIV, less is known about this association among Brazilians. We aimed to (a) evaluate indicators of depression, stigma related to HIV and homosexuality, and adherence to ART in a sample of Brazilian MSM living with HIV; (b) assess possible correlations between the variables analyzed, and (c) assess the impact of HIV and sexual stigma and depression on ART adherence. This cross-sectional study comprised 138 Brazilian MSM living with HIV as participants. Scales used included: a sociodemographic/clinical questionnaire, the questionnaire for assessment of adherence to antiretroviral therapy (CEAT-HIV), the Beck depression inventory (BDI-II), the internalized homophobia scale, and the HIV stigmatization scale. The mean adherence score was relatively high (78.83, within a range of 17–89 points). However, we observed inadequate ART adherence (CEAT-HIV < 75) in 28 (20.2%) respondents. Participants reported high scores for internalized sexual stigma, perceived sexual stigma in the community, and HIV stigma. Symptoms of depression were identified in 48.47% of participants. We found negative correlations between depression, HIV stigma, and treatment adherence, but not between sexual stigma and ART adherence. HIV-related stigma and sexual stigma were positively correlated with depression. Our regression analysis indicated that each year of age at diagnosis of HIV increased adherence by 0.22 points, on average. Each additional BDI-II score reduced adherence to ART by 0.20 points. The high prevalence of depression, HIV stigma, and sexual stigma, and their adverse effects on ART adherence and mental health, point to the need to implement evidence-based interventions to reduce sexual and serological stigma in the general population, as well as to mitigate the negative impacts of stigma on MSM living in HIV in Brazil. They also highlight the importance of periodically screening for these variables among MSM treated in Brazilian public health services, especially among those with inadequate adherence to ART.

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Paula Moreno, Ana, Marcos Rizolli, and Katya Hochleitner. "São Paulo Art Biennial and Its Relation to the Brazilian Art Market." International Journal of Science, Technology and Society 10, no. 3 (2022): 107. http://dx.doi.org/10.11648/j.ijsts.20221003.13.

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Capanema Xavier, Eduardo, Beatriz Xavier Capanema, Jeronimo Ruiz, Guilherme Oliveira, Roberto Meyer, Vivian D'Afonseca, Anderson Miyoshi, and Vasco Azevedo. "Brazilian Genome Sequencing Projects: State of the Art." Recent Patents on DNA & Gene Sequences 2, no. 2 (June 1, 2008): 111–32. http://dx.doi.org/10.2174/187221508784534203.

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Conduru, Roberto. "The Belated Pioneering Criticism of Afro-Brazilian Art." Art in Translation 14, no. 1 (January 2, 2022): 1–7. http://dx.doi.org/10.1080/17561310.2022.2049076.

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Gesteira, Santiago G. "Art and Land: Eucalyptus Plantations in Brazilian Documentaries." Humanities 11, no. 2 (April 7, 2022): 53. http://dx.doi.org/10.3390/h11020053.

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In Brazil, since the early 2000s, different documentaries have raised awareness about the problematic issues that tree plantations, especially eucalyptus, provoke, as they are propagated across the country. By means of interviews and a mix of investigative and expository styles, these films address and denounce the controversial role and power of the timber industry. However, in the last few years, other works have approached the relationships between planted forests and local ecosystems, offering an alternative perspective. This essay analyzes two recent films on the issue, the short film Gerais, and the 78 min long Do pó da terra, released in 2015 and 2016, respectively, while looking at another short documentary, Desertos verdes: plantações de eucaliptos, agrotóxicos e água, released in 2017, a straightforward documentary that advocates against eucalyptus plantations, interviews specialists and activists, and shows data that work as a report about the situation. In Gerais and Do pó da terra, forest plantations are not central narratives, rather, the focus is on specific communities and their customs. Through testimonial, observational, and poetic modes, they discuss the challenges faced by local inhabitants as their unique lifestyles and sociocultural expressions are threatened. Thus, this essay explains how, instead of images of destruction and the specificities of eucalyptus environmental effects, these documentaries choose to show the connection of local people and their art with the land, their daily life, and the changes they face. By crucially emphasizing the different timelines in play, that of western modernity, and that of alternative understandings of life–nature, they differ from other approaches towards filming environmental conflict that stress the immediacy of the situation. These two films offer a more intimate perspective of human beings, in interplay with their ecosystem, which allows for reflection on how they cohabitate and look forward.

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de Oliveira, Celso Lemos. "Brazilian Literature and Art: From Colonial to Modern." Hispania 75, no. 4 (October 1992): 988. http://dx.doi.org/10.2307/343866.

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Almeida, Marcelo, Janelle Joseph, Alexandre Palma, and Antonio Jorge Soares. "Marketing strategies within an African-Brazilian martial art." Sport in Society 16, no. 10 (December 2013): 1346–59. http://dx.doi.org/10.1080/17430437.2013.821249.

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Fernandes, Maria de Lourdes Goncalves, Alicia Regina Navarro de Souza, Maria Dias Torres Kenedi, Antonio José Ledo Alves da Cunha, Afranio Lineu Kritski, and Maria Kátia Gomes. "Stigma and art therapy with Brazilian leprosy patients." Leprosy Review 93, no. 3 (September 1, 2022): 265–87. http://dx.doi.org/10.47276/lr.93.3.265.

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Pontual, Roberto. "Cannibalism and constructivism: Two modes of Brazilian Art." Review: Literature and Arts of the Americas 19, no. 36 (January 1986): 13–17. http://dx.doi.org/10.1080/08905768608594213.

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Anderson, Mark D. "The Environmental Imaginary in Brazilian Poetry and Art." Interdisciplinary Studies in Literature and Environment 22, no. 3 (August 19, 2015): 678–80. http://dx.doi.org/10.1093/isle/isv059.

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Cabañas, Kaira M. "Toward a Common Configurative Impulse." MODOS: Revista de História da Arte 5, no. 1 (January 30, 2021): 115–27. http://dx.doi.org/10.20396/modos.v5i1.8664006.

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Brazilian art critic Mário Pedrosa’s theorization of art’s affective power, whereby the relational contract with the spectator is neither rational nor purely visual but is infused with feeling, was decisive for understandings of geometric abstraction as expressive in the 1950s. “Toward a Common Configurative Impulse” turns to another modernism, nestled alongside the geometric ones that would come to define the aesthetic of artists associated with Concrete Art in these years. Beyond Concrete Art, Pedrosa’s modernism also encompassed the creative production of diverse practitioners, among them, popular artists, self-taught artists and psychiatric patients (the latter is the subject of my book Learning from Madness: Brazilian Modernism and Global Contemporary Art). With this in mind, this essay tracks the historical and discursive origins for such an inclusive modernism and how Pedrosa’s embrace of different artistic subjectivities calls for a necessary shift in the historiography of Brazilian modernism at mid-century.

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Drumond, Matheus Madeira. "A ARTE DO BRASIL / The art of Brazil." arte e ensaios 27, no. 42 (January 3, 2022): 130–50. http://dx.doi.org/10.37235/ae.n42.12.

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Arte brasileira � j� uma alcunha consagrada. Tal chave interpretativa, se n�o � mote declarado de in�meros discursos, tampouco se furta de amplamente permear em subterr�neo muitas das abordagens. Este texto prop�e explorar, em alguma medida, o� parecimento da concep��o e seus desdobramentos em nossa tradi��o cr�tico-historiogr�fica.Palavras-chaveArte brasileira. Historiografia da arte. Cr�tica de arte.�Abstract�Brazilian art is an established concept. As such, the idea ? understood as an interpretative key ? is not only a motto explicitly repeated in uncounted speeches, neither is it far from being largely permeating many theoretical approaches. This paper explores the appearance of Brazilian art as a concept and its consequences in our critical-historiographical tradition.Keywords:Brazilian art. Art historiography. Art criticism.

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Nery Monteiro, Argus Cecil. "Antunes Filho: Formation of the Brazilian System of Theatrical Art." Observatory of Culture, no. 3 (June 28, 2015): 44–50. http://dx.doi.org/10.25281/2072-3156-2015-0-3-44-50.

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Antunes Filho: Formation of the Brazilian System of Theatrical Art (by Argus Cecil Nery Monteiro) is devoted to the formation and development of the method of Antunes Filho, a reformer of the modern Brazilian theatre. Resting on Stanislavski’s system, he created his own method based on contemporary psychological and philosophical researches. His method is successfully used in training actors at the Centre of theatre researches founded by him in São Paulo.

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Machado, Diogo De Oliveira. "Anti-money laundering regulation on the Brazilian art market." Revista Jurídica da Presidência 21, no. 123 (May 31, 2019): 95. http://dx.doi.org/10.20499/2236-3645.rjp2019v21e123-1769.

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Anti-money laundering regulation on the art market, is it a friend or a foe? This research contributes new insights to test possible answers to this question through the analysis of Ordinance no. 396/2016/IPHAN, enacted in Brazil to establish compliance measures to be followed by art and antiquities dealers to control money laundering practices. A pyramidal regulatory model suggests a conjunction of self-regulatory measures, administrative sanctions and criminal penalties as useful instruments to mitigate these illicit practices. This study focuses on the administrative initiatives requiring art professionals to undertake anti-money laundering due diligence measures and it critically analyses the extent to which they may rearrange the relations between dealers and clients. The contributions of the regulatory framework are recognised in so far as it shows itself able to meet societal aspiration for a respectable art market through a shrewdly responsive intervention rather than just formal bureaucratic constraints.

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Fetter, Bruna. "O PAPEL DO MERCADO NA LEGITIMAÇÃO ARTÍSTICA E ALGUNS REFLEXOS PARA HISTÓRIAS DA ARTE EM CONSTRUÇÃO / The role of the market for artistic legitimation and some reflexes for art histories under construction." arte e ensaios 26, no. 40 (December 2, 2020): 173–83. http://dx.doi.org/10.37235/ae.n40.12.

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O mundo contemporâneo apresenta uma série de desafios para o sistema da arte. Mudanças econômicas, sociais, culturais e organizacionais na década passada produziram um mercado global de arte cuja influência já atinge desde a produção artística à programação de importantes instituições. O número de museus privados cresce, enquanto instituições públicas não possuem verba para investir em novas aquisições para suas coleções. Nesse cenário, nos perguntamos: em 50 ou 100 anos, o que estará legitimado nas coleções institucionais referentes à atualidade? Onde estarão as obras mais significativas dos artistas brasileiros contemporâneos? Quem serão os artistas brasileiros mais reconhecidos? Quais critérios estéticos estão sendo legitimados através dos mecanismos dessa nova institucionalização no Brasil? Quais narrativas acompanharão a historicizacão da arte contemporânea brasileira? Que papel o mercado e os colecionadores privados têm desempenhado na definição de histórias da arte em construção?Palavras-chave: Mercado de arte; Legitimação; Papel do colecionador; História da arte; Arte brasileira.Abstract:The contemporary world presents a series of challenges for the art system. Economic, social, cultural and organizational changes in the past decade have produced a global art market whose influence already reaches from artistic production to the programming of important institutions. The number of private museums grows, while public institutions do not have funds to invest in new acquisitions for their collections. In this scenario, we ask ourselves: in 50 or 100 years, what will be legitimized in the institutional collections for today? Where are the most significant works by contemporary Brazilian artists? Who will be the most recognized Brazilian artists? What aesthetic criteria are being legitimized through the mechanisms of this new institutionalization in Brazil? Which narratives will accompany the historicization of contemporary Brazilian art? What role have the market and private collectors been playing in shaping art histories under construction?Keywords: Art market; Legitimation; Collector's role; Art history; Brazilian art.

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Fabio Pezzi, Parode, Zapata Maximiliano, and Nythamar de Oliveira. "Arts, design and culture: in search for sustainability." Journal of Textile Engineering & Fashion Technology 7, no. 5 (August 18, 2021): 143–48. http://dx.doi.org/10.15406/jteft.2021.07.00281.

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Art and design complement each other in the search for quality and sustainability. There are designers who use methods in their practices within the field of art to produce unique meaning for their devices. This is the case of the Brazilian designers, the Campana Brothers. How can art contribute to the design culture of sustainability? How can art enhance consumer culture by design? In conclusion, what can contemporary art currently legitimize? To what extent can aesthetic experience in consumption become one of the ways to build cultural values on the horizon of sustainability? Strategic design, within its theoretical and methodological scope, can provide some answers. Considering sustainability as one of the contemporary paradigms that preaches durability as a value, this paper provides a reflection on the principles of desecration in current Brazilian art and the conceptions that bring art and design together – all through an exploratory approach and according to the methodology of strategic design.

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Valerio, Miguel A. "Atlantic Masters: Three Early Modern Afro-Brazilian Artists." Arts 12, no. 3 (June 2, 2023): 118. http://dx.doi.org/10.3390/arts12030118.

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Brazil received the largest number of Africans enslaved into the Americas: nearly five million by some estimates. Thus, Brazil became the world’s largest slavocracy. But slavery was not the only experience available to Africans and Brazilians of African descent in slavery-era Brazil. Numerically, Afro-Brazilians dominated the arts in colonial Brazil. However, very few of those artists and artisans, many of whom were enslaved, are known by name today. Free Afro-Brazilian artists, such as Aleijadinho, Mestre Valentim, and Teófilo de Jesus, on the other hand, fared far better. In this article, I turn to these three mixed-race artists’ works and what little is known of their lives, not only as exemplary Afro-Brazilian artists but also as some of the most important artists of Brazil’s late colonial period, where they had the greatest impact on the artistic developments in their home regions. These artists’ careers thus illustrate how artists of African descent contributed to and defined urban and sacred spaces in the early modern Atlantic. This is therefore an invitation to look at Afrodescendants’ role in early modern art beyond the anonymity of slavery and static representation.

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Oliveira, Genaro. "A “great priest of civilization”: Reinterpreting Victor Meirelles’ A Primeira Missa through newspapers." Brasiliana: Journal for Brazilian Studies 9, no. 1 (September 5, 2020): 194–215. http://dx.doi.org/10.25160/bjbs.v9i1.120083.

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Using newspapers as primary sources, this article presents an innovative analysis of Victor Meirelles’ A primeira missa no Brasil (1860). Beyond canonical interpretations of Meirelles’ work as an erudite depiction of the beginning of Brazil’s history in 1500, the article demonstrates that for viewers of that time the painting also, and above all, represented the beginning of the history of Brazilian art in the 1800s. It demonstrates this by following general art debates in newspapers of the period, specifically in the years before and after the highly anticipated return of the young Meirelles from his European sabbatical. Debates in the press illustrate how Meirelles’ significance for nineteenth-century audiences in particular, and for Brazilian art history as whole, can only be fully decoded by situating the artist within Brazilian elites’ political-intellectual efforts to achieve European-style civilisational progress during the first decades of the post-independence period.

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Barata, Ana. "Resources for Latin American art in the Gulbenkian Art Library." Art Libraries Journal 37, no. 4 (2012): 21–23. http://dx.doi.org/10.1017/s0307472200017697.

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From its creation in 1968 the Gulbenkian Art Library has possessed a number of special collections, and these have been enriched through major bequests or through acquisition. Currently there are about 180 collections with relevance for the study of Portuguese art and culture: they include private libraries, the private archives of Portuguese artists and architects, and photographic archives. Material in the special collections is available through the library’s catalogue and some have already been digitised and are available on the internet, depending on their copyright terms and conditions. Among these special collections two have special relevance to the study of the history of Brazilian art and architecture: the collection of Portuguese tiles and the Robert Smith Collection.

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Obici, Giuliano. "Gambioluthiery: Revisiting the Musical Instrument from a Bricolage Perspective." Leonardo Music Journal 27 (December 2017): 87–92. http://dx.doi.org/10.1162/lmj_a_01025.

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Gambiarra is a popular Brazilian expression that describes an improvised and informal way of solving an everyday problem when needed tools or resources are not available. Since the turn of the 21st century, the term gambiarra has been a part of Brazilian art discourse. This article first analyzes the genealogy of the word gambiarra, including its global and local contexts, and then looks at the use of gambiarra in the production of music and sound art instruments, or gambioluthiery.

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Faria, Luís. "Luís Alberto de Abreu e a peça "Um dia ouvi a Lua": a poética aristotélica como cânone." Cadernos de Literatura Comparada, no. 43 (2020): 175–91. http://dx.doi.org/10.21747/21832242/litcomp43a11.

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This article discusses how the use of Brazilian colloquial language and the epic theatrical elements in the play One day I saw the moon (Um dia ouvi a Lua), written by Luís Alberto de Abreu, compose the work’s mechanisms of this Brazilian playwright. These mechanisms allow the author to build his own dramatic poetic works based on storytelling. Abreu dialogues with the Aristotle’s Poetics, or the Aristotelian canon. The playwright attempts to know how the epic genre works according to Aristotle and he brings this idea to the Brazilian reality. Abreu makes a contemporary form of theatrical art. This art does not deny the canon and it does not accept the canon like an untouchable form.

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Tornatore-Loong, Maria. "Concrete Parallels: Brazilian Concrete Poetry, Concrete Art, and Neoconcretism." International Journal of the Image 11, no. 3 (2020): 1–50. http://dx.doi.org/10.18848/2154-8560/cgp/v11i03/1-50.

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Spitz, Rejane. "The Rhythms, Flavors and Meanings of Brazilian Electronic Art." Leonardo 28, no. 3 (1995): 157. http://dx.doi.org/10.2307/1576067.

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da Silva, Claudinei Roberto. "Sidney Amaral and the Dilemma of Afro-Brazilian Art." Critical Interventions 9, no. 2 (May 4, 2015): 140–48. http://dx.doi.org/10.1080/19301944.2015.1110976.

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Lage, Maria Conceição Soares Meneses. "Chemical analysis of pigments in Brazilian rock art (Piaui)." Revista do Museu de Arqueologia e Etnologia. Suplemento, supl.2 (December 10, 1997): 89. http://dx.doi.org/10.11606/issn.2594-5939.revmaesupl.1997.113443.

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O presente trabalho apresenta uma nova proposta de estudo dos sítios de arte rupestre da região Sudeste do Piauí onde utilizamos técnicas de exame e de análises físico-químicas para fornecer dados sobre a técnica de execução dos grafismos, casos de pinturas retocadas, superposições, técnicas de fabricação dos pigmentos, constituição química dos pigmentos, localização de fontes de matéria-prima, relações existentes entre pinturas rupestres e camadas estratigráficas e estado de conservação das pinturas. Nosso estudo visou sobretudo o conhecimento mais preciso dos pigmentos utilizados nesta arte rupestre, sua composição química, mineralógica e suas relações com o suporte rochoso.

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Dymel, Piotr, and Aleksandra Szylińska. "Functional assessment of people practicing Brazilian martial art – Capoeira." Journal of Education, Health and Sport 10, no. 4 (April 8, 2020): 55. http://dx.doi.org/10.12775/jehs.2020.10.04.007.

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C. Hochleitner, Katya, and Paulo Varella. "Insights on Artists in the Brazilian Contemporary Art Market." International Journal of Economics, Business and Management Research 08, no. 02 (2024): 16–23. http://dx.doi.org/10.51505/ijebmr.2024.8202.

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Brito, Ronaldo. "Neo-concretism, Apex and Rupture of the Brazilian Constructive Project." October 161 (August 2017): 89–142. http://dx.doi.org/10.1162/octo_a_00304.

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Written in 1975 and first published in its entirety in 1985, this essay constitutes the first and most consequential analysis of the Brazilian Neo-concrete movement of the late 1950s and early '60s. It argues that Neo-concretism realized and simultaneously forced into crisis the essential tenets of the constructive traditions of geometric abstraction as they had been inherited by artists in Brazil. According to Brito, Brazilian Concrete art sought to import a Western model of constructive practice that, while utopian in aim, was ultimately complicit with both a capitalist organization of the market and a positivist, universalizing formulation of the subject. Ill-equipped to adapt to Brazil's prevailing socioeconomic realities, this model was surpassed by the Neo-concrete movement, which, in channeling the “singularities” of art, allowed for the emergence of previously repressed elements such as desire, subjectivity, and expression. A critical rupture within Brazilian modern art, Neo-concretism thus established the conditions for contemporary artistic practice and its “insertion into the ideological field.”

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Lapin Dardashti, Abigail. "Abdias do Nascimento in New York." MODOS: Revista de História da Arte 6, no. 1 (January 10, 2022): 471–93. http://dx.doi.org/10.20396/modos.v6i1.8666899.

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This essay examines the life and work of the Afro-Brazilian activist, politician, and artist Abdias do Nascimento in 1968–70, when he lived in New York City. I argue that, in this new space, Nascimento employed painting as both a vehicle to address his migratory experience and a tool to continue his anti-racism activism. Engaging with African American art both from the 1930s Harlem Renaissance and the 1960s Black Power movement, Nascimento produced images representing transnational Black solidarity within a cultural space that operated beyond national confines. Ultimately, Nascimento’s work unsettles dominant modes of Brazilian and US representation at the time, employing elements from pop art to interrogate the art world’s exclusion of the Black experience.

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Journal articles on the topic 'Brazilian Art'

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