Academic literature on the topic 'Brazilian Landscape painting'

A paisagem urbana é constituída por múltiplas camadas de significados. Considerá-la como um texto nos permite acessar o conteúdo simbólico por meio do qual as culturas, sejam elas dominantes ou alternativas, reproduzem suas normas, seus valores e concepções de mundo. Nessa abordagem, a própria paisagem material, em todas as suas formas de expressão, configura-se como um texto que deve ser detalhadamente lido e interpretado. As evidências do significado das paisagens são encontradas também nos produtos culturais e estéticos produzidos no âmbito da sociedade: na pintura, na literatura, na música, nos filmes. Estes últimos têm um importante papel na estruturação das geografias contemporâneas. Dentro desse contexto, esse trabalho discute, por meio da análise do discurso e de uma abordagem interpretativa, a Recife/PE construída no filme Febre do Rato (2012), dirigido pelo cineasta pernambucano Cláudio Assis, na intenção de desvelar a imagem da cidade de Recife compreendendo os significados expressos na sua paisagem fílmica.Palavras-chave: Paisagem. Significado. Símbolo. Recife. Febre do Rato.INTERTEXTUALITY IN THE LANDSCAPE: RECIFE’S FILMIC CITY IN FEBRE DO RATOAbstract: The urban landscape is constituted by multiple layers of meaning. Considering it as a text, allows us to access the symbolic content through which the dominant or alternative cultures reproduce their norms, values and worldviews. In this approach the material landscape itself, in all its forms of expression, appears as a text that must be read and interpreted at length. Evidences of the meaning of landscapes are also found within cultural and aesthetic products in the society: in painting, in literature, in music and in films. The latter play an important role in the structuring of contemporary geographies. Within this context, this study presents a discourse analysis, and an interpretative approach, of the city of Recife/PE presented in the film Febre do Rato (2012) directed by the Brazilian filmmaker Claudio Assis, with the intention to reveal the image of Recife through the understanding of its filmic landscapes. Keywords: Landscape. Meaning. Symbol. Recife. Febre do Rato.INTERTEXTUALITÉ À PAYSAGE: LA VILLE CINÉMATOGRAPHIQUE DE RECIFE DANS LE FILM FEBRE DO RATORésumé: Le paysage urbaine se compose de plusieurs significations. Considérez cela comme un texte que nous permet d’accéder au contenu symbolique dans les cultures, reproduire leurs normes, valeurs et visions du monde. Dans cette vision, le paysage correspond à plusieurs manières et formes d’expression. Il se revele dans différents produits culturels et esthétiques: dans la peinture, dans la littérature, dans la musique, dans les films, entre autres. De cette façon, votre presence c’est très important dans la structuration des géographies contemporaines. Dans ce contexte, le présent article aborde, à travers l’analyse du discours de film Febre do Rato (2012), réalisé par le cinéaste Pernambuco Claudio Assis, l’images de la ville de Recife et ses multiples significations.Mots-clés: Paysages. Significations. Symbole. Recife. Febre do Rato.

On the second half of the 19th century, Portuguese emigration to Brazil was a major historical and sociological phenomenon. After an arduous path, the Portuguese returned and became part of the political, economical, social and artistic lives of their hometowns, causing a change on the architectural landscape in the north of the country. These emigrants built houses that became hugely important as social buildings; they represented the way in which each one of them inserted himself in the community that saw him leave. The taste printed by each one of the emigrants in their houses made them a landmark for the application of several artistic movements of that time in the country as well as in Europe, such as Art Noveau (wrought iron) or Romanticism (gardens). The exterior and the interior of these houses portray a constant connection to Brazil and Portugal, proved by the national flags that hang on the façades or by the landscapes represented in paintings or tile panels. However, many of those houses were already destroyed and along them the memory of a Brazilian that stated himself as the paradigm of the self-made man. This type of houses was an important example of the emigration architecture, main feature of the Iberian Peninsula, which needs a fast cultural and touristic valuation, once it was part of a people’s material memory. To protect this kind of patrimony and avoid a loss of a vast estate about emigration, it is considered that these houses may be grouped into a set of touristic routes that will lead us to the finding and knowledge of the material and immaterial inheritance of these men and women. Setting up these routes might constitute an important step towards the museualization of the migrations, recovering the cultural routes of the migrant people.

O projeto Natureza Vestida fundamenta-se na função mágico-religiosa, estético-simbólica que é promovida e vivenciada nos rituais de pintura corporal indígena. Se apropria da tecnologia e da linguagem artística para proporcionar uma instalação pela qual o público interaja de forma performática com a paisagem da biodiversidade brasileira. Sendo um dos eixos do Projeto De Fora Adentro- Cartografia dos Sentidos esta proposta se apoia numa metodologia criativa, lúdica e interativa que enfatiza o processo de educação patrimonial. Palavras chaves: Cartografia ritual. Antropologia artística. Pintura corporal. Educação patrimonial.Nature Dressed UpAbstractThe project Natureza Vestida ( Dressed Nature )is based on the magic-religious, aesthetic-symbolic function that is promoted and experienced in the rituals of indigenous body painting. It appropriates of technology and artistic language to provide an installation through which the public interacts in a performatic way with the landscape of Brazilian biodiversity. Being one of the axes of the project De Fora Adentro - Cartografia dos Sentidos, (Inside out – the cartography of senses) this proposal is based on a creative, ludic and interactive methodology that emphasizes the patrimonial education process.Keywords: Ritual cartography. Artistic anthropology. Body painting. Heritage education.

A presente tese tem como objetivo analisar as relações entre linguagem moderna, tradição, caráter nacional e lirismo na obra do artista plástico Alberto da Veiga Guignard (1896-1962). Ela visa compreender como se constrói, a partir do aprofundamento de suas fontes e influências, o espaço singular de seus trabalhos. Este se caracteriza, sobretudo, por sua espacialidade ambígua, no limiar entre a profundidade ilusionista da arte tradicional e a planaridade da pintura moderna, constituindo-se como uma das características decisivas de sua produção. Nossa abordagem não propõe um percurso cronológico, ao contrário, procura explicitar como, ao longo de sua carreira, diversos elementos estéticos são reiterados até atingirem um alto poder de síntese em paisagens realizadas do início dos anos 1950 até o final de sua vida. Em primeiro lugar, analisamos como se deu a recepção crítica inicial da obra de Guignard, ainda marcada por uma leitura de viés nacionalista, para destacar suas características decisivas, independentes de sua temática. Em seguida, retornamos a seu período de formação na Europa a fim de elucidar a relação com a produção artística da época. Examinamos também como sua poética dialoga com questões importantes do meio artístico brasileiro das décadas de 1930 e 1940 como, por exemplo, a revalorização da visualidade popular. A nosso ver, suas paisagens respondem de maneira dialética à dinâmica particular do modernismo no Brasil, estabelecendo-se como um momento privilegiado para sua compreensão.
This thesis aims to analyze the relationship between modern language, artistic tradition, national character and lyricism in the work of the artist Alberto da Veiga Guignard (1896-1962). It seeks to understand how the singular space of his works is built from the deepening of its sources and influences. This is characterized mainly by its ambiguous spatiality, in-between the illusionistic depth of traditional art and the flatness of modern painting, becoming one of the defining aspects of Guignards production. Our approach does not intend to be chronological. Rather, it seeks to explain how, throughout his career, many aesthetic elements are repeated until they reach a high level of synthesis in landscape paintings dated from early 1950s until the end of his life. Firstly, we investigate the early critical reception of Guignards oeuvre, still marked by a strong nationalistic interpretation, in order to highlight its defining characteristics, despite of its subject. Thereafter we examine his training period in Europe aiming to clarify possible relationships between his work and the artistic production of that time. We also point out the poetic dialogues he establishes with relevant issues of the Brazilian artistic milieu of the 1930s and 1940s, especially the revaluation of popular imagery. From our point of view, his landscape painting respond in a dialectical way to the peculiar dynamics of Modernism in Brazil, establishing themselves as privileged moments for its understanding