Journal articles: 'Painting in Brazil in the XIX century'

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Carneiro Dazzi, Camila Carneiro. "PELAS RUAS DO MAGREBE: ORIENTALISMO NO BRASIL AO FINAL DO SÉCULO XIX / Walk through the streets of the Maghreb: orientalism in Brazil at the end of the 19th century." arte e ensaios 26, no. 40 (December 2, 2020): 261–81. http://dx.doi.org/10.37235/ae.n40.18.

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O Magrebe central, cuja palavra de origem árabe e significa “onde o Sol se põe”, correspondia, ao final do século XIX, a um território que englobava a Tunísia, a Argélia e o Marrocos (STORA, 2004). Foi uma região fecunda em temas de inspiração, e ao final do Oitocentos, muitos artistas Europeus e Americanos consideravam uma estadia no Magrebe tão indispensável quanto uma permanência de estudos na Itália, destino eleito por inúmeros pintores para o desenvolvimento de pesquisas de renovação do uso da luz e da gama cromática. O Magrebe não só permitia novas possibilidades no uso da cor e de luz, mas possuía a vantagem de permitir uma exploração exótica, de ser uma terra oriental cheia de mistério e misticismo. O fascínio despertado pelo Magrebe conquistou alguns pintores brasileiros, como Arsênio Cintra da Silva, Pedro Américo, ou que aqui atuaram, como Johann Georg Grimm. O artigo busca contextualizar qual foi a importância do Magrebe no panorama mais amplo do Orientalismo Ocidental, bem como apresenta alguns dados, se não inéditos, bem pouco conhecidos sobre a produção Orientalista de Georg Grimm, um pintor que, embora pouco estudado, possui um papel relevo no cenário das artes do Rio de Janeiro, nos conturbados anos de 1880.Palavras-chave: Orientalismo; Magrebe; Johann Georg Grimm; Pintura do século XIX.Abstract The central Maghreb, a word of Arabic origin that means “where the sun sets”, corresponded, at the end of the 19th century, to a territory that included Tunisia, Algeria and Morocco (STORA, 2004). It was a fruitful region in terms of inspiration, and at the end of the 19th century, many European and American artists considered a stay in the Maghreb as indispensable as a stay in Italy, a destination chosen by countless painters for the development of research to renew the use of light and chromatic range. The Maghreb not only allowed new possibilities in the use of color and light, but had the advantage of allowing an exotic exploration, of being an oriental land full of mystery and mysticism. The fascination aroused by the Maghreb conquered some Brazilian painters, like Arsênio Cintra da Silva, Pedro Américo, or who worked here, like Georg Grimm. The article seeks to contextualize the importance of the Maghreb in the wider panorama of Western Orientalism, as well as presenting some data, if not unpublished, little known about the Orientalist production of Georg Grimm, a painter who, although little studied, has a role the art scene in Rio de Janeiro, in the troubled 1880s.Keywords: Orientalism; Maghreb; Johann Georg Grimm; 19th century painting.

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Coelho, Geraldo Mártires. "BELÉM E A BELLE ÉPOQUE DA BORRACHA." Revista Observatório 2, no. 5 (December 25, 2016): 32. http://dx.doi.org/10.20873/uft.2447-4266.2016v2n5p32.

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O artigo discute a história e a vida de Belém na passagem do século XIX para o século XX, marcada por um conjunto de elementos sociais, intelectuais e artísticos que refletiam as influências da cultura e da sociedade europeia, principalmente francesa, do período. Em termos de Brasil, esse processo se verificou em Belém e no Rio de Janeiro: era a chamada Belle Époque. Cultivou-se o gosto pelo que vinha da Europa, o que podia ser visto na maneira de se vestir das elites locais e na vida social que levavam em Belém. A literatura, a pintura e a música, cultuadas por essas mesmas elites, faziam da cidade um grande centro de vida intelectual e artística. É preciso, no entanto, observar que a Belle Époque faz parte de um processo maior, o da mundialização da cultura. PALAVRAS-CHAVE: Belém; Belle Époque; Mundialização da cultura. ABSTRACT This article treats the history and life of Belem (capital city of Para State/Brazil) during the passage from XIX to XX century that was marked by a set of social, intellectual and artistic elements, which reflected the influences from European culture and society, especially the French one in such period. In terms of Brazil, that process was seen in Belem and Rio de Janeiro; it was called Belle Époque. It was cultivated a taste to whatever came from Europe, what could be seen on the dressing fashion of the local elites and the social live they had in Belem. Literature, painting and music, idolised by the same elite made the city a huge centre of intellectual and artistic life. However, it is needed to consider that Belle Époque is part of a bigger process, the globalization one. KEY WORDS: Belém; Belle Époque; Culture globalization. RESUMEN El artículo discute la historia de la vida de Belém en la pasaje del siglo XIX para el siglo XX, marcada por un conjunto de elementos sociales, intelectuales y artísticos que reflejaban las influencias de la cultura y de la sociedad europea, principalmente francesa, del período. En términos de Brasil, ese proceso se comprobó en Belém y Rio de Janeiro. Era la nombrada Belle Époque. Cultivado el gusto por lo que procedía de Europa, que se podía ver en la forma de vestir de las élites locales y la vida social que llevaban en Belém. La literatura, la pintura y la música, adorado por esas mismas élites, hacían de la ciudad un importante centro de la vida intelectual y artística. Es necesario, sin embargo, observar que la Belle Époque es parte de un proceso más amplio, la globalización de la cultura. PALABRAS CLAVE: Belém; Belle Époque; Globalización de la cultura

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Gauzer, Irina. "RECEPTION OF SPANISH PAINTING IN RUSSIAN TRAVELOGUES OF XIX CENTURY." Interexpo GEO-Siberia 5 (2019): 167–76. http://dx.doi.org/10.33764/2618-981x-2019-5-167-176.

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The article deals with reception of images of Spanish painting in Russian essays of the XIX century. Study materials are travelogues, letters and memoirs of Russian travelers. The subject of the study is peculiarities of interpreting Spanish artists’ creativity and images created by them in the texts of Russian culture.

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Gudymenko, Yu Yu. "New Motifs in Russian Portrait Painting in Early XIX century." Университетский научный журнал, no. 59 (2020): 48–55. http://dx.doi.org/10.25807/pbh.22225064.2020.59.48.55.

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Tarasova, Maria, and Sabina Maremkulova. "РЕПРЕЗЕНТАЦИЯ ПОНЯТИЯ «СОЦИУМ» В РУССКОЙ ЖИВОПИСИ БЫТОВОГО ЖАНРА XIX ВЕКА." Social Anthropology of Siberia 2, no. 1 (March 31, 2021): 15–28. http://dx.doi.org/10.31804/2687-0606-2021-2-1-15-28.

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The aim of the study is to reveal the ways of representing the concept of “society” in the works of the genre art in the Russian painting of the 1860-1870s. The research is carried out using the method of philosophical and art history analysis of works of fine art. The main object of the study is the painting “Rural procession on Easter” by Vasiliy G. Perov. The study describes the specific features of the genre art in the Russian painting of the 19th century. The research shows how works of the genre art realize their didactive and educating functions. A theoretical analysis of the concepts of “everyday life”, “being”, “society” made it possible to conclude how genre painting of the 19th century models both an ideal person who is in co-existence with the absolute spirit, and a person who is far from the ideal. In the research the authors reveal two worldview models that developed in Russian painting in the 1860-1870s: a model of a perfect human being and a model of a person who is mired in everyday life. The study proves that the latter human model is represented in index signs of characters that worship only material values. The study investigates the versatility of the pictorial model of the Russian society, represented not only as a community absorbed in the routine of the everyday life, but also as a group of people whose life is elevated upwards to the true existence. The research has resulted in the typology of characters of paintings of the genre art, where the type of the character depends on the model of the society represented by the work of art. In its conclusion the study discloses two models of representing the society in Russian painting of the genre art in the 19th century. According to the first model, the everyday principle acts as an absorber of being. The second model represents a society in which everyday life manifests true existence, in harmony with nature and filled with the divine essence.

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Fayzulla, Ochildiev. "The Craftsmanship Of The Emirate Of Bukhara At The Second Half Of The XIX Century - The Beginning Of The XX Century." American Journal of Interdisciplinary Innovations and Research 02, no. 11 (November 14, 2020): 33–38. http://dx.doi.org/10.37547/tajiir/volume02issue11-07.

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This article describes the development of handicrafts in the second half of the XIX century and the beginning of the XX century in the Emirate of Bukhara. In the Emirate of Bukhara from ancient times developed weaving, embroidery, tanning, carpet weaving, pottery, blacksmithing, coppersmithing, carving, jewelry, painting and other crafts.

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Petrova, Olga, Dmitrii Pankin, Anastasia Povolotckaia, Evgenii Borisov, Timur Krivul’ko, Nikolai Kurganov, and Alexey Kurochkin. "Pigment palette study of the XIX century plafond painting by Raman spectroscopy." Journal of Cultural Heritage 37 (May 2019): 233–37. http://dx.doi.org/10.1016/j.culher.2018.11.010.

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Chernysheva, Maria A. "The New Historical Narrative in the 19th Century Painting." Actual Problems of Theory and History of Art 8 (2018): 140–48. http://dx.doi.org/10.18688/aa188-1-13.

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Krivondenchenkov, S. V. "THE IDEAL OF FEMALE BEAUTY IN RUSSIAN PAINTING (EARLY XVIII-MID XIX CENTURY)." Вестник Санкт-Петербургского государственного университета технологии и дизайна. Серия 2: Искусствоведение. Филологические науки, no. 3 (2020): 68–75. http://dx.doi.org/10.46418/2079-8202_2020_3_10.

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Bragina, Natalia, and Jelena Jermolajeva. "THE DOLL IN THE PAINTINGS OF THE LATE 19TH – EARLY 20TH CENTURIES: HERMENEUTIC ANALYSIS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 20, 2020): 616. http://dx.doi.org/10.17770/sie2020vol5.4859.

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The semantics of the doll in painting is not sufficiently investigated in art history and culture studies. The doll is never an accidental or unimportant component of a painting; it reveals deep psychological and symbolic undertones, complicates and concretizes the content of the painting. Each art style deals with this topic in its own way. The aim of the article is to analyse the interpretation of the image of the doll in various styles of painting of the second half of the XIX century – beginning of the XX century: in realistic painting, in symbolism, impressionism, and modernism. The research methods are the analysis of literature, the descriptive method, the hermeneutic method, and the comparative analysis method. The article may be useful for researchers in art and cultural studies, and can be used at school and university courses in the History of Art and Culture.

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Мирошина, Екатерина Олеговна. "Features of A. I. Savinov's Monumental Church Painting." Вестник церковного искусства и археологии, no. 3(4) (August 15, 2020): 90–99. http://dx.doi.org/10.31802/bcaa.2020.4.3.006.

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В статье показана специфика живописно-пластического языка, принципов формообразования, композиционных решений и художественно-образного строя монументальных росписей А. И. Савинова. Одной из значимых страниц в творчестве этого художника стало создание великолепного ансамбля росписей Спасо-Преображенского храма села Натальевка Харьковской губернии. В этих стенописях ярко отразились основные художественные тенденции и поиски рубежа XIX-XX столетий, а также тесная взаимосвязь с техническими приёмами и выбором материалов, способных помочь мастеру создать новые образы и выразить свои идеи. Живописные полотна А. И. Савинова отражают не только лучшие традиции отечественной художественной школы и господствующие стилевые течения рубежа XIX-XX вв., но и влияние творчества великих мастеров эпохи Возрождения. The article shows the specificity of the pictorial-plastic language, the principles of shaping, compositional solutions and the artistic-figurative structure of the monumental paintings of A. I. Savinov. The creation of a magnificent ensemble of murals of the Transfiguration Church in the village of Natalyevka, Kharkov province, became one of the most significant pages in his artistic work. These murals vividly reflected the main artistic trends and searches at the turn of the XIX-XX centuries, as well as techniques and the choice of materials that can help the artist create new images and express his ideas. A. I. Savinov’s paintings reflect not only the best traditions of the Russian art school and the mainstream stylistic trends of the century, but also the influence of the work of the great Renaissance masters.

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Faktorová, Veronika, and Anna Brzezińska-Winkie. "Karkonosze jako idealny górski krajobraz na przełomie XVIII i XIX wieku." Góry, Literatura, Kultura 13 (September 22, 2020): 93–102. http://dx.doi.org/10.19195/2084-4107.13.9.

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At the end of the 18th century, the new idea of the mountain landscape as an ideal and beautiful landscape emerged in Central Europe. This cultural process was conditioned by the contemporary aesthetic concepts of the Sublime and the Picturesque, related to the development of a new cultural and social practice of education of the eye (described in the book of Peter De Bolla The Education of the Eye: Painting, Landscape, and Architecture in Eighteenth Century Britain, 2003). In a Central European context, the model of the mountain landscape was found in the Krkonoše mountain range, and travelogues, analysed in our case study, have contributed to its establishment.

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Ковальова, М. М., and Цю Чжуанюй. "ІМПРЕСІОНІСТИЧНІ ТЕНДЕНЦІЇ В КИТАЙСЬКОМУ ОЛІЙНОМУ ЖИВОПИСУ ПЕРШОЇ ПОЛОВИНИ XX СТОЛІТТЯ." Art and Design, no. 3 (November 13, 2020): 55–65. http://dx.doi.org/10.30857/2617-0272.2020.3.4.

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The purpose of the article is to reveal the impressionistic trends in the fine arts of China, determining the originality of the Chinese oil painting development of the 20th century. Methodology. Historical and cultural, comparative, iconographic and iconological methods are used in the study. Results. The study examines the underinvestigated aspects of Chinese painting development in the first half of the 20th century. The retrospective analysis of the pictural art enables tracing the traditions and innovations in the formation of oil painting in China, which prevails at this historical stage of the national art school development. The desire of Chinese artists to preserve the philosophical foundation and theoretical principles of classical ink painting, and at the same time an interest in Impressionism, have become a peculiar feature of Chinese oil painting. The main trends, dominating at the beginning of the century, persist to this day, defining the development of Chinese oil painting in general. It is determined that the decorativeness and thematic repertoire of classical Chinese ink art has been transferred to oil painting, as evidenced by the booming exhibition activities. The study determined that in the first half of the 20th century, the impressionistic trend was spread in the country, which resulted from the study of Japanese and French masters by Chinese masters. The teaching methods and stylistic searches of Chinese artists of the period under study became the foundation of contemporary Chinese art. The latest trends in Chinese oil painting in the first half of the 20th century are: an artistic rethinking, reminiscences of a similar phenomenon in Western European painting of the late XIX – early XX century. The spread of impressionism contributed to the greatest development of still life and landscape genres, and also brought plein air practice to a new level. Many Chinese artists spread impressionistic ideas not only in artistic creation, but also in art history. The scientific novelty lies in the systematization and factual material analysis on this problem, determining the role of the impressionist trend in the Chinese oil painting development. Practical significance. The results of the study can be used in further studies of the history and theory of Oriental art of the 20th century.

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Mutia, Natalia Nikolaevna. "Russian Historical Painting at World Expositions in the United States (Late XIX - Early XX Century)." Manuskript, no. 8 (March 2021): 1716–26. http://dx.doi.org/10.30853/mns210289.

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Gryzunova, Anna. "Portraits of the representatives of Vorontsov family painted by Sir Thomas Lawrence." Человек и культура, no. 1 (January 2020): 132–40. http://dx.doi.org/10.25136/2409-8744.2020.1.30688.

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The subject of this article is the portraits of the members of Vorontsov family – a Russian family of diplomats inseparably connected with Great Britain and Russia. These works were painted by the British artist Sir Thomas Lawrence (1769-1830) in the early XIX century, featuring the portraits of S. R. Vorontsov (in 1805-1806), Y. S. Pembroke (in 1808), M. S. Vorontsov and graphic painting of E. K. Vorontsova (in 1821). The method of research consists in a detailed comprehensive examination of the depiction of the members of Vorontsov family. Main emphasis is made on the comparative analysis of reminiscences of the contemporaries on the model and artistic style of T. Lawrence’s works. The scientific novelty consists in viewing these portraits from one of the perspective of Russian-British artistic ties of the early XIX century – the connection between Lawrence and Russia, and broadening of catalogue descriptions with new records. The comparison of graphic and painting works of T. Lawrence with written reminiscences on the presented models proves that portraits of his authorship minutely reflect the inner world of the models and the impression they created on their contemporaries.

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Gauzer, Irina V. "CODE OF SPANISH PAINTING IN RUSSIAN CULTURE (BASED ON THE RUSSIAN FICTION OF THE XIX - EARLY XX CENTURIES)." Interexpo GEO-Siberia 5 (July 8, 2020): 3–10. http://dx.doi.org/10.33764/2618-981x-2020-5-3-10.

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The paper deals with reception of the Spanish pictural images presented in the Russian fiction of the XIX - early XX centuries. The material of the study are works by I.A. Goncharov, A.F. Pisemsky, N.S. Leskov, N.D. Khvoshchinskaya, N.A. Leykin, L.N. Andreev, A.T. Averchenko. The analysis results show that the theme of the Spanish painting in the Russian fiction is focused on images of two painters - Bartolome Murillo and Diego Velazquez. What is more, with time there is a shift of contexts in which the writers put the images of the Spanish painters and their masterpieces. If in the middle of the XIX century these images are markers of the high art sphere that connect the Russian space with the latter, in the early XX century they represent gaps between elite classic art and mass culture of the epoch fin de siècle.

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Barnaś-Baran, Ewa. "Opieka Krakowskiego Towarzystwa Dobroczynności nad ołtarzem i obrazem Matki Boskiej w Bramie Floriańskiej w XIX i na początku XX wieku." Prace Historyczne, no. 147 (1) (2020): 63–85. http://dx.doi.org/10.4467/20844069ph.20.004.12458.

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The care of the Cracow Charitable Society over the altar and painting of Our Lady at the Florian Gate in the 19th and early 20th centuries The aim of this article is to present the actions taken by the Cracow Charitable Society in order to protect the altar and the painting in the Florian Gate. The image of Our Lady was handed over to the Society for care in 1817, which it provided until the communist authorities disbanded the Society in 1951. In order to renovate the painting and altar, the Society mainly raised funds through public sacrifices and donations of individual people. Among the benefactors there were many affluent and well-known people from Cracow, as well as anonymous individuals. Source materials reveal that the image was revered both by the inhabitants of Cracow and its surroundings and that the religious services held there in the 19th century were infused with patriotic spirit. Next to the painting an alms box was placed for financial donations to the poor who were cared for by the Society – it had the highest income among all the poor boxes in Cracow. Today, the Florian Gate still houses an altar with a painting, which is currently under the care of the Daughters of Charity.

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Zeni, Bárbara. "SILVIO ROMERO E A POESIA ÉPICA." Revista Épicas 8, no. 2020 (December 30, 2020): 33–66. http://dx.doi.org/10.47044/2527-080x.2020v8.3366.

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The theoretical contributions of Brazilian literary critic Silvio Romero are essential sources of study to researchers who wish to comprehend the evolution of the theoretical treatment given to the epic genre in Brazil during the XIX century. In this article the locus of his reflections on the epic genre were mapped. The books and articles where the critic wrote on the topic, as well as their respective periods in time were specified. The critic’s opinion on the production of epopees in Brazil was described. A definition of epic poem as well as of poetry in general was identified. The tension between epic and lyrical was explored. Simultaneously the epistemological frame in which the critic’s discourse is placed was outlined. Finally this research aimed to formulate a systematic metadiscourse which would encompass all the previous points on Romero’s theoretical discourse on epic gender during the XIX century in Brazil.

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Marius, Munteanu, Ion Sandu, Ioana Huțanu, and Liliana Nica. "The Study of Stages and Operations Involved in the Preservation and Restoration of two XIX-th Century Icons, on Wooden Support." Present Environment and Sustainable Development 8, no. 2 (October 1, 2014): 131–50. http://dx.doi.org/10.2478/pesd-2014-0030.

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Abstract The paper presents the stages and the operations involved in the preservation and restoration of two icons on wooden support, from the XIX-th century, which are part of the heritage of the ”Sfinții Arhangheli Mihail and Gavriil” church, from Galați. The two icon have inventory numbers as part of the collection as followed: 112 for the first icon and 113 for the second one. Both icons have the same theme, ”The Grieving Mother from Rohia” and are made by anonymous painters in egg tempera, on lime wooden support, without ground. Being part of the same collection, they were deposited in the same place and as a direct consequence, they suffer from similar deteriorations and degradations that affect both the support and the painting layer. Both panels are attacked by xylophagous insects and the painting layer has detachments, gaps, cracks, clogged dirt and a cracked and degraded varnish layer. Ten samples taken from the already detached areas were analyzed by optical microscope, SEM-EDX and micro-FTIR. Based on the chemical elements identified in the EDX spectrums, the pigments used to create the painting layer are: ultramarine natural blue Na8-10Al6Si6O24S2-4, carbon black, earth green, K[(Al,FeIII),(FeII,Mg)](AlSi3,Si4)O10(OH)2, ocher (FeO), burned or natural umber Fe2O3· H2O + MnO2·n H2O+ Al2O3, lead white (2PbCO3·Pb(OH)2) and yellow iron oxide (Fe2O3·4H2O). It was also determined that the gold leaf usually used in byzantine icons was replaced in the case of both icons: the icon number 112 has silver leaf covered with varnish, while the halo of the icon number 113 was created with yellow metallic pigments (realgar or orpigment).The pigments were also identified by determining specific peaks in micro-FTIR spectrums. For natural ultramarine blue the peaks between 628 - 724 cm-1 were assigned; the peaks in the interval 795 - 887 cm-1 confirm the presence of carbonates (calcium and lead based). The earth green pigment (aluminum - silicates) had the peaks between 1464 - 1599, while the carbon black pigment was confirmed by the peaks in the interval 921 - 1060 cm-1. After the pigments and the materials used by the author were identified, the restoration process begun with the following stages: consolidation of the painting layer (fish glue 8% and japanese paper), stopping the xylophagous attack (encapsulation with nitrogen), consolidation of the wood supports (colophon and wax, 1:1), cleaning the painting layer (ethylic alcohol and distilled water, 1:1), filling the gaps and reintegrating the fillings in tratteggio, all followed by the process of varnishing the two icons.

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Landgraf, Fernando José Gomes, Matheus Yuri Quisbert Ribeiro, Guilherme Inácio Lima da Rosa, Paulo Sérgio Germano Carvalho, Daniel Luiz Rodrigues, Rafael Rocha Maia, Flávio Beneduce Neto, and Cesar Roberto Farias Azevedo. "Archaeometallurgy of ferrous artefacts of the Patriótica Iron Factory (XIX century, Ouro Preto, Brazil)." REM - International Engineering Journal 74, no. 4 (December 2021): 483–501. http://dx.doi.org/10.1590/0370-44672021740019.

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Volyk, Yu P., and O. N. Razumovskaya. "PROBLEMS OF RESTORATION OF DECORATIVE INTERIOR PAINTINGS OF CLASSICISM." National Association of Scientists 4, no. 26(53) (2020): 7–25. http://dx.doi.org/10.31618/nas.2413-5291.2020.4.53.178.

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In the first third of XIX century, the interiors of St. Petersburg buildings were often adorned with decorative paintings on plafonds and cambers. Polychrome painting and grisaille painting, which imitates plasterwork, were usually made with distemper colors. The focus of attention in the era of classicism was antiquity, mythological subjects and heroes. The article discusses the paintings in Kamennoostrovsky Palace, the General Staff building on the Palace square, the Laval's mansion. Decorative interior painting in St. Petersburg was created by artists of Italian origin, the most famous of them being D. B. Scotti. The time and environmental conditions affected these paintings, and their restoration takes a long time and very hard work. The article describes all the difficulties involved in restoration; one of the most important conditions is the use of natural materials. The article also has photos showing the paintings before restoration, in the process of restoration and after its completion

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Janus, Krzysztof, and Renata Janusz. "18th century fresco on the rainbow arch of the former St. Kazimierz’s church at Bernardyńska 15 street in Lublin." Budownictwo i Architektura 6, no. 1 (June 13, 2010): 023–29. http://dx.doi.org/10.35784/bud-arch.2286.

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The paper presents a sacred painting located on the road arch in St. Kazimierz Church in Lublin, which was forgotten for hundreds of years. The fresco was covered by several layers of paints dated from XIX and XX century. It survived likely because the space was too difficult for adaptation as an industry space. The space was used as a storage or a meeting room. Currently it works as a storeroom and a drying room for people living in the building. The present function is utterly incompatible with surrounding work of art you can see on the wall.

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Perel'man, Irina Vladimirovna. "GENDER APPROACH AS AN ANALYTICAL DEVICE TO STUDY THE RUSSIAN PAINTING OF THE MIDDLE OF THE XIX CENTURY." Historical, Philosophical, Political and Law Sciences, Culturology and Study of Art. Issues of Theory and Practice, no. 1 (March 2018): 69–78. http://dx.doi.org/10.30853/manuscript.2018-1.16.

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Korina, Natalya. "Moscow School of Painting, Sculpture and Architecture as the center of the formation of the Moscow school of painting in the mid-XIX - early XX century." St.Tikhons' University Review. Series V. Christian Art 14, no. 2 (June 30, 2014): 117–35. http://dx.doi.org/10.15382/sturv201414.117-135.

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Irala-Hortal, Pilar. "Nuevas estéticas. Viejas poéticas. Aproximación al rastro de la influencia de la historia de la pintura en la fotografía actual / New aesthetics. Older poetics Approach to the trace of the influence of painting into the image." Revista Internacional de Cultura Visual 4, no. 2 (December 12, 2017): 75–83. http://dx.doi.org/10.37467/gka-revvisual.v4.1551.

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RESUMENA lo largo de la historia, fotografía y pintura avanzan a la par y, en la mayoría de las ocasiones, sobre todo en las primeras décadas, se entrecruzan e influyen recíprocamente. Se ha estudiado desde diferentes enfoques la influencia de la fotografía en la pintura del último tercio del siglo XIX y viceversa. También en el siglo XXI la fotografía vuelve a mirar a los grandes pintores de la historia del arte para inspirarse, buscar modelos, crear metáforas y, en definitiva, buscar en las raíces de la creación visual el camino creativo y estético a seguir. En este artículo exponemos algunos ejemplos.ABSTRACTThroughout history, photography and painting advance together and, in most cases, especially in the first decades, they intersect and influence each other. The influence of photography on painting in the last third of the 19th century and vice versa has been studied from different perspectives. Also in the 21st century, photography looks again at the great painters of art history to inspire themselves, look for models, create metaphors and, ultimately, look at the roots of visual creation for the creative and aesthetic path to follow. In this article we expose some examples.

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Pires, Clarissa. "Building freedom: anti-slavery and abolitionist struggles for black women in 19th century Brazil." Revista Eletrônica História em Reflexão 14, no. 28 (October 15, 2020): 141–63. http://dx.doi.org/10.30612/rehr.v14i28.12254.

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Ao longo do século XIX, do norte ao sul do Brasil, as mulheres negras -livres, forras e cativas –atuaram de diferentes maneiras no processo que desencadeou a Lei Áurea em 1888. Neste sentido, o presente artigo tem por intenção lançar luz sobre a participação das mulheres negras nas lutas cotidianas e populares, individuais e coletivas, travadas contra a instituição da escravidão, a desigualdade de gênero e a discriminação socioracial no país, considerando a interseccionalidade entre o gênero, a raça e a classe social na dialética da dominação escravista. O desafio proposto consiste em revelar as contribuições do materialismo histórico à escrita da história das mulheres negras e observar trajetórias ímpares pautadas na busca pela liberdade.

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Farias, Ana Cristina Santos. "PRÁTICAS E REPRESENTAÇÕES DE LEITURA NA PINTURA DO SÉCULO XIX | PRACTICES AND REPRESENTATIONS OF READING IN THE PAINTING OF THE 19TH CENTURY." Estudos Linguísticos e Literários, no. 62 (June 26, 2019): 148. http://dx.doi.org/10.9771/ell.v0i62.28987.

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<div class="page" title="Page 2"><div class="layoutArea"><div class="column">No presente ensaio, serão abordadas algumas representações (CHARTIER, 1991; BOURDIEU, 2008) históricas relativas ao ato de ler, todas associadas com as relações de poder em vigor em distintos tempos e lugares. Tais representações circularam nos mais diversos espaços, por meio de práticas e de discursos, mas também se materializaram em outros objetos culturais, tais como as obras de arte, que contam a história das representações oriundas de determinados segmentos sociais detentores do poder real e do poder simbólico (BOURDIEU, 2008) associado à linguagem. As obras em questão são, sobretudo, do século XIX, período em que, entre avanços e recuos, as tecnologias de ler e de escrever se difundiram e alcançaram, ainda que parcamente, as classes populares. Entretanto, foi entre as mulheres da elite que este bem cultural floresceu no século XIX e são estas mulheres que aparecem ilustradas nas obras aqui arroladas. Antes dessa imersão, contudo, cabem algumas considerações acerca de certas concepções caras a esta análise. </div></div></div>

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Yatskiv, N. "The Pluralism of the Artist’s Image as a Search of an Aesthetic Motto in the Goncourt Brothers’ Novel “Manette Salomon”." Journal of Vasyl Stefanyk Precarpathian National University 3, no. 4 (December 30, 2016): 84–89. http://dx.doi.org/10.15330/jpnu.3.4.84-89.

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The article studies the aesthetic theories of the French art of the middle of the XIX century through the interaction between literature and painting. In the novel “Manette Salomon” the Goncourt brothers formulate their innovative views of the ways of the development of art through the artists’ efforts to express Beauty. The five painters, different in terms of talent and skill, express the writers’ pluralism in creating the aesthetic ideal. The writers are on the side of those who constantly strive for self-improvement, who do not approve of imitating reality but invent in constant creative torments new ways and techniques in order to express one’s own individual perception

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Abdullina, Darina A. "DOMESTIC CHILDREN'S PORTRAIT OF THE FIRST HALF OF THE XIX CENTURY: ROMANTIC IMAGES OF ANGELS, “NOBLE SAVAGE” AND HERO." Articult, no. 4 (2020): 78–91. http://dx.doi.org/10.28995/2227-6165-2020-4-78-91.

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The article considers the children's portrait in Russian painting of the first third of the XIX century on the example of the works of O.A. Kiprensky, K.P. Bryullov, V.G. Varnek, V.A. Tropinin, A.G. Venetsianov and other portraitists of that time. The author identifies the most common “types” or variants of children's images in portraits, namely: children-angels, “noble savages”, children-heroes and “exemplary children”. The emergence of these “formulas of representation” is associated with the development of the so-called romantic concept of childhood, which assumes, in comparison with the previous era of “little adults”, a special attitude to the children's world as a lost ideal, a “Golden age” and programs for the future. The publication traces how the development of the genre and its imagery was affected by the actualization of romanticism trends in the visual arts of that time.

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Letin, Vyacheslav A., and Karina S. Visenya. "THEATER DISCOURSE IN A. P. LOSENKO’S PAINTING." World of Russian-speaking Countries 6, no. 4 (2020): 95–114. http://dx.doi.org/10.20323/2658-7866-2020-4-6-95-114.

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The article is devoted to the analysis of the representation of theatricality in painting by A. P. Losenko. On the example of his works, most closely related to stage art, the theatrical component of his creative method is revealed. The article analyzes two works by A. P. Losenko, directly related to the circle of the first Russian theaters: “Portrait of actor F. G. Volkov” and “Vladimir before Rogneda”, which are considered in the context of the theatrical discourse of European theater culture of the second half of the XVIII century as peculiar declarations of the artist about the personality of the artist and the mission of theater art in society. Almost all the historical paintings by A. P. Losenko are written in a tragic way with the characteristic color of the conflict, the characterization of the characters and the construction of mise-en-scenes. In particular, in “Vladimir...” the tragic conflict lies in the need for revenge on the hero to the insulter and a sense of love for her, which arose under the impression of her beauty. However, this situation is emphasized already in the spirit of the Enlightenment era with its cult of sensitivity. The conflict loses heroic-political acumen, and is transferred to the lyric-psychological register. The article concludes that the “theatricality” of Losenko's paintings is an important component of his creative method, that its principles are rooted in the historical and cultural context of the Enlightenment. In A. P. Losenko’s “theatrical” paintings, actual searches for both European and national art culture in the field of stage arts were reflected. And, in turn, his work influenced both the development of historical painting and the theatrical art of Russia of the late XVIII - early XIX centuries.

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Meretskaya, Yulia. "Anton Ažbe’s pedagogical method’s influence on the stylistic development of Russian Empire painting in the late XIX — early XX century." Russian-Slovenian relations in the twentieth century, no. IV (2018): 220–43. http://dx.doi.org/10.31168/2618-8562.2018.4.3.2.

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Anton Ažbe, a Slovenian artist and teacher, at 1891 opened a famous private art school in Munich, which attracted lot of young artists from all world during fourteen years. Ažbe’s pedagogical method played an important role in the stylistic development of Eastern Europe and Russian art in the late XIX ― early XX century. Due to the successful combination of openness to new ideas and the presence of a strong technical base, Ažbe’s pedagogical method developed individual creative inclinations of students, who were able to realize their potential in different areas of Avant-garde. The objective of this article is to show on concrete examples the Ažbe’s pedagogical method’s infl uence on the art’ stylistic development of his students from the Russian Empire ― natives of various national painting schools.

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Portnova, Tatiana V. "The images of the russian ballet in the Fine Arts of the late XIX and early XX century." Revista de la Universidad del Zulia 12, no. 34 (September 2, 2021): 631–50. http://dx.doi.org/10.46925//rdluz.34.34.

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The purpose of the study is to analyze various interpretations of the theme of ballet in the context of creating an artistic image taking into account the specific characteristics of various arts on the factual visual material of the late nineteenth - early twentieth century. Methodology: 1) Search method, which allowed to reveal in museums and private collections, works of art dedicated to ballet of the period under consideration; 2) Historical and tipological method, which helped to group the works according to the thematic principle, to determine the degree of their value in the process of the creative work of the artist; 3) Method of stylistic analysis, which allowed to track the structural changes in the images created, the evolution of the creative method of the artist. Main findings: The nature of pictorial foundations in choreography is explored; the artistic pursuits and the various decisions in the masterpieces of graphics, painting and sculpture, dedicated to the ballet theatre and mostly connected with "The Russian Seasons" by S. Diaghilev; the main iconographic principles, the typology and the interpretation of ballet images are revealed.

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Verona, Priscilla. "Cidadania e Instrução no Império: uma leitura da modernidade brasileira / Citizenship and Instruction in the Empire: a reading of Brazilian modernity." Revista de História e Historiografia da Educação 2, no. 4 (February 6, 2018): 49. http://dx.doi.org/10.5380/rhhe.v2i4.52583.

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O século XIX representou no contexto histórico nacional um período de grande relevância para a compreensão das bases do projeto de Nação que se construía no Brasil imperial. Ao pensarmos a questão educacional e a institucionalização do ensino pelo Estado nos parece oportuno refletir as relações com o processo de construção da cidadania, a qual se formula com características singulares e particularmente ligadas ao nosso contexto histórico e político. Cabe analisar de que forma a instrução consolidou-se por sua vez, assumindo assim como nossa cidadania, suas singularidades. Mantivemo-nos durante o século XIX em sintonia com o tempo histórico que acentua a consolidação dos Estados modernos, tempo que caracterizou os cenários políticos de diversos países, inclusive do Brasil império.* * *The XIX century represented in the national historical context a period of great relevance for the understanding of the bases of the project of Nation that was constructed in imperial Brazil. When thinking about the educational question and the institutionalization of state education, it seems appropriate to reflect the relationship with the process of citizenship construction, which is formulated with singular characteristics and particularly linked to our historical and political context. It is necessary to analyze how the education consolidated itself in its turn, assuming as our citizenship, its singularities. We kept up during the nineteenth century in tune with historical time that accentuated the consolidation of modern states, a time that characterized the political scenarios of various countries, including Brazil empire.

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Maslov, Konstantin. "Painting of V. M. Vasnetsov in the Vladimir cathedral in art criticism of the late 19th century." St.Tikhons' University Review. Series V. Christian Art 28 (December 31, 2017): 83–108. http://dx.doi.org/10.15382/sturv201728.83-108.

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De Oliveira, Natália Maria, and José Flávio Morais Castro. "Análise da paisagem das mulheres viajantes no Brasil durante o século XIX / Landscape analysis of women travelers in Brazil during the nineteenth century." Caderno de Geografia 26, no. 1 (November 29, 2016): 155. http://dx.doi.org/10.5752/p.2318-2962.2016v26nesp1p155.

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As técnicas de pesquisa observação e descrição são fundamentais aos estudos geográficas. A análise da paisagem, natural ou cultural, sobretudo histórica, depende de registros documentais capazes de descrevê-la com riqueza de detalhes. Os relatos de mulheres viajantes do século XIX são compreendidos como importantes documentos históricos à análise da paisagem e da organização social do período. Compreende-se a literatura de viagem, principalmente para o viés humanista-cultural da Geografia, instrumento de análise de aspectos físicos, sociais e culturais. Realiza-se nesta pesquisa um levantamento bibliográfico dos relatos de viagem de mulheres viajantes estrangeiras que estiveram no Brasil durante o século XIX, alem do estudo de caso sobre as contribuições para a análise da paisagem contidas no diário de viagem “Uma Parisiense no Brasil”. Por fim, a análise espacial das informações obtidas a partir deste relato, de autoria de Adèle Toussaint-Samson, apresenta uma das possibilidades de resultado de pesquisas que utilizem relatos de mulheres viajantes estrangeiras do século XIX.Palavras-chave: Observação; Descrição; Mulheres Viajantes; Século XIX; Literatura. AbstractObservation and description are fundamental research techniques to geographical studies. The Analisys of landscape, natural or cultural, especially historical, depends on documental records that are able to describe it in great detail. The traveling women reports from the nineteenth century are important historical documents to analyze the landscape and social organization of the period. Travel literature is, especially to the humanistic and cultural bias of Geography, an instrument of analysis for physical, social and cultural aspects. This research carried out a bibliographical survey on foreing traveling women who visited Brazil during the nineteenth century. A case study on the travel diary “A Parisian in Brasil” by Adèle Toussaint-Samson was made, emphasizing its contribuitions to landscape analysis. Finally, the spatial analysis of the information from this report presents one of the possible results for researches using reports of foreign women travelers of the nineteenth century. Keyword: Observation, Description, Traveling Women, Nineteenth Century, Literature

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Usacheva, Svetlana V. "WORKS OF WESTERN-EUROPEAN MASTERS AND RUSSIAN SCHOOL OF LANDSCAPE PAINTING THE LATE 18TH – EARLY 19TH CENTURY." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 4 (2017): 84–91. http://dx.doi.org/10.28995/2073-6401-2017-4-84-91.

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Ferraz, Márcia H. M., Ana M. Alfonso-Goldfarb, and Silvia I. Waisse. "Modern medical substances since the 19th century: the case-study of Brazil." Revista Estudos do Século XX, no. 12 (2012): 177–96. http://dx.doi.org/10.14195/1647-8622_12_10.

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Bozhko, E. M., and M. V. Spornik. "VALUE OF ARTIFICAL EDUCATOIN FOR ARCHITECTURAL LANDSCAPE AT THE MODERN STAGE." Regional problems of architecture and urban planning, no. 14 (December 29, 2020): 160–66. http://dx.doi.org/10.31650/2707-403x-2020-14-160-166.

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Analyzing relevant and informative sources for acquaintance with modern fine art, catalogs of various art exhibitions, article questions and problems associated with the creation of architectural and landscape compositions are considered from a practical point of view. A significant role in art belongs to the architectural landscape, as a genre variety. Promising types of cities - Veduta (A. Canaletto, V. Bellotto) have become separate types of architectural landscape. The genre of painting is the Veduta, which developed in the eighteenth century in Venice. This is an image of views of the city and its environs. Lead amaze with its accuracy. At that time, such images served as photographs. The requirements for the paintings corresponded to their purpose: the accuracy of the image of objects, down to the smallest detail. With the advent of photography, the requirements for graphic images have lost their relevance. The camera can accurately capture the object, transmit small details better than the artist. The changes that are taking place in modern realistic painting are connected precisely with the appearance of photography. Many modern impressionists, trying to impress the landscape they saw, write sketches with wide, wide strokes. For the sake of such a technique, they ignore many important elements of the landscape in order to maximize the expressiveness of their work. Modern artists working in the realistic direction of the architectural landscape pay attention to color reproduction, color of painting, while paying due attention to drawing, linear perspective and construction. Painting and photography at the present stage are fundamentally different from each other. Painting corresponds to its name - living writing, generalization, typification and stylization of forms, the viewer's impression of lightness, airiness and illumination. Modern realistic painting is modified relative to the painting of the VIII-XIX centuries. This process is due to the technical development of the modern world, the advent of digital photography, new materials for creativity. Picturesque language goes into the language of flowers. Professional art education plays a fundamental role in understanding the landscape as a genre of painting. Education allows you to combine composition, the picturesque effect, which is an innovation in realistic landscape painting, for the complete deep impression of the viewer.

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Marques, José Alberto Dos Santos. "Emigração portuguesa para o Brasil nos fins do século XIX (Portuguese emigration to Brazil in the late nineteenth century)." Cadernos de História 16, no. 25 (December 18, 2015): 292. http://dx.doi.org/10.5752/p.2237-8871.2015v16n25p292.

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A declaração de independência do Brasil, em 1822, não constituiu uma ruptura com Portugal. A presença da corte portuguesa no Rio de Janeiro 1807-1821 determinou que muitos portugueses se estabelecessem lá. Este processo de instalação gradual das famílias criou algum tipo de fascínio pela terra brasileira. Assim, ao longo do século XIX, os embarques para aquela terra quase sempre foram em busca de fortuna. Em nosso trabalho vamos seguir, por meio da análise dos passaportes emitidos pelo Governo Civil de Lisboa, das listas de passageiros e da correspondência desse movimento do Brasil. De lá, ele vai decorrer uma análise social, econômica, política, cultural e, também, das duas comunidades. AbstractThe declaration of independence of Brazil, in 1822, did not constitute a rupture with Portugal. The presence of the Portuguese court in Rio de Janeiro from 1807 to 1821 determined that many Portuguese established themselves there. This process of gradual installation of the families created some kind of fascination for the Brazilian land. Thus, to the long of the XIX century the embarkments for that land, almost always had been in search of fortune. In our work we will follow, through the analysis of the emitted passports of the lists of passengers and the correspondence of this movement from Brazil. From there it will elapse a social, economic, politic analysis, and also cultural of the two communities.Keywords: Brazil; Emigration; Portugal; Nineteenth century.

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Stanicka-Brzezicka, Ksenia. "Ikonosfera kurortu górskiego. Przyczynek do studiów nad historią uzdrowisk śląskich w XIX i XX wieku." Góry, Literatura, Kultura 13 (September 22, 2020): 285–302. http://dx.doi.org/10.19195/2084-4107.13.23.

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One of the phenomena within the cultural construct created around the mountains was from the beginning of the nineteenth century the rise of resort culture. An extremely important element of this emerging resort culture was the development of iconography (pictorial representations), which — having originated in painting and then growing thanks to the spread of graphic techniques and the industrialisation of reproduction technologies — became a mass-scale phenomenon. Tourism began to generate a demand for various types of souvenirs and pictures made with the help of various techniques and materials (illustrated publications, engravings, photographs, postcards, dioramas as well as painted or engraved pottery or glass). It also became an impulse for the production of various components of resort culture, including advertising brochures and leaflets; posters and signboards, which became an increasingly familiar part of the urban iconosphere; shop windows; newspapers and magazines with advertising inserts; and even graphic layout of restaurant menus or hotel bills; finally, small architectural forms complementing big resort ensembles. This phenomenon should be viewed in many contexts — social transformations, especially social reception of visual messages, growth of resorts, development of medicine, technical infrastructure and many other. So far research into resorts has focused largely on an earlier period, encompassing the nineteenth century. However, the first half of the twentieth century has left a significant mark in the tourist space, and, above all, a lot of visual evidence. All this — from the oldest, eighteenth-century voyages pittoresques to twentieth-century “modern” advertisements of places, sites and events — can be used as a basis for research into pictorial culture and its analyses. Naturally, the mountains are one of the most important elements of this iconography. They are its main protagonist, sometimes a background or backstage. They are a real element of local topography or a symbol and archetype. The phenomenon can be observed also in Silesia, in the resorts of the Giant Mountains and the Kłodzko Valley, also in Polanica, when a joint-stock company was set up to manage and expand the resort. The article presents the components and history of increasingly professional marketing strategies pursued by the local authorities and management of the various mountain resorts in Silesia from the nineteenth century until the first half of the twentieth century. In addition, the author analyses image as a form of message as well as the power of visual information in the context of reflections on the popularisation of the mass media and information explosion, researched today within the framework of visual sociology, visual anthropology and visual culture studies.

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Teive, Hélio A. Ghizoni, Sérgio M. Almeida, Walter Oleschko Arruda, Daniel S. Sá, and Lineu C. Werneck. "Charcot and Brazil." Arquivos de Neuro-Psiquiatria 59, no. 2A (June 2001): 295–99. http://dx.doi.org/10.1590/s0004-282x2001000200032.

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OBJECTIVE: To describe the relationship between Professor Charcot and Brazil. BACKGROUND: During the XIX century, French Neurology and its most prominent figure, Professor Charcot, dominated the area of nervous system diseases in the world. METHOD: We have reviewed some of the main publications about Charcot's life, the biography of Dom Pedro II, Emperor of Brazil and the development of Neurology in Brazil. RESULTS: Among the most important patients in Charcot's practice was the Emperor of Brazil. Dom Pedro II became a close friend of Charcot and he was a distinguished guest at Charcot's house, particularly at Tuesday soirées on boulevard St. Germain. In 1887, during the visit of Dom Pedro II to France, Charcot evaluated him and made the diagnosis of surmenage. In 1889, Dom Pedro II was deposed and went to Paris, where he lived until his death in 1891. Charcot signed the death certificate and gave the diagnosis of pneumonitis. Charcot had a passionate affection for animals, a feeling shared by Dom Pedro II. Dom Pedro II was affiliated to the French Society for the Protection of Animals. It is conceivable that Charcot's little monkey, from South America, was given to him by Dom Pedro II. The Brazilian Neurological School was founded by Professor A . Austregésilo in 1911, in Rio de Janeiro. At the time, of Charcot's death in 1893, his influence was still very important in the whole world. He and his pupils played a major role in the development of Brazilian Neurology. CONCLUSION: Professor Charcot had a close relationship with the Emperor of Brazil, Dom Pedro II. He was his private physician and they were close friends. The neurological school, created by professor Charcot, contributed significantly, albeit in an indirect way, to the development of Brazilian Neurology, starting in 1911, in Rio de Janeiro, by Professor A . Austregésilo.

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CADDAH, MAYARA K., and JULIA MEIRELLES. "Miconia goldenbergiana (Melastomataceae, Miconieae): a new species from the Atlantic Forest, Brazil." Phytotaxa 356, no. 2 (June 14, 2018): 167. http://dx.doi.org/10.11646/phytotaxa.356.2.6.

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Miconia goldenbergiana, a new species from the Atlantic Forest in southeastern Brazil, is described and illustrated. The new species have been extensively collected since the end of the XIX century but have been confused with M. budlejoides and M. formosa, species that also have discolorous and suprabasal leaves and glomerulate inflorescences. From the first species, it can be distinguished by papyraceous leaves with the abaxial surface covered by lepidote trichomes. From the second species, it can be distinguished also by the texture of leaves, and by its narrower size, crenulate to serrulate margins and acute base, besides the smaller size of the flowers. The new species is known from the states of Espírito Santo, Rio de Janeiro and eastern São Paulo, and is in danger of extinction.

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STEINER-SOUZA, FRANCISCO, PEDRO CORDEIRO-ESTRELA, ALEXANDRE REIS PERCEQUILLO, ANDRÉ FILIPE TESTONI, and SÉRGIO LUIZ ALTHOFF. "New records of Rhagomys rufescens (Rodentia: Sigmodontinae) in the Atlantic forest of Brazil." Zootaxa 1824, no. 1 (July 16, 2008): 28. http://dx.doi.org/10.11646/zootaxa.1824.1.3.

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Since it was trapped in the XIX th century, Rhagomys rufescens has been considered a rare endangered sigmodontine rodent and an endemic species of the Atlantic forest. Only a handful of vouchers of this taxon were known by Thomas, 1886. Recently, eight new individuals were collected, providing new geographical, morphological and phylogenetic (based on molecular evidence) information on this species. In the present work we report the southernmost occurrence record for R. rufescens at Indaial, Santa Catarina State, with the largest collected series of this species, the northernmost occurrence record at Santa Teresa, Espírito Santo State, and new records from Poços de Caldas, Minas Gerais State, from Ibiúna and Ribeirão Grande, São Paulo State.

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Silva, Elizabeth Maria Da. "As viagens de Nísia Floresta pelo solo brasileiro durante o século XIX." Revista de História e Historiografia da Educação 1, no. 2 (May 1, 2017): 11. http://dx.doi.org/10.5380/rhhe.v1i2.51166.

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Objetivamos neste artigo analisar as viagens de Nísia Floresta, feminista, professora, escritora, jornalista do século XIX, onde suas obras eram pautadas na condição intelectual e social da mulher. Para tanto, nos apoiamos nas principais obras da autora, especificamente as que detalhavam suas vivências no Brasil, além de dialogarmos com Câmara (1941), Duarte (2010), Koster (1942) dentre outros e outras que auxiliaram na construção do tempo histórico e social em que Nísia Floresta viveu suas andanças em terras brasileiras. Nesse contexto, exploramos o contexto de cada lugar por onde a viajante passou. Desde o clima de revolta que eclodiu durante o século XIX e que desde menina a acompanhou, a sua infância cercada de livros, o casamento precoce, o contato com os estudantes da Faculdade Direito de Olinda até sua estada no Rio de Janeiro, onde fundou o Collegio Augusto. De fato, as viagens de Floresta, nos revelaram uma mulher forte, ousada, adiante de seu tempo. Uma viajante de olhar reflexivo, trajetórias e vivências singulares por onde passou. Denunciando além das condições de submissão por que passavam as mulheres de sua época à realidade de ensino oferecido.The travels of Nísia Floresta in Brazil of the 19th century. We aim to analyze in this article the travels of Nísia Floresta, feminist, teacher, writer, journalist of the 19th century, where her works were based on the intellectual and social condition of women. To that end, we supported the author's main works, specifically those that detailed her experiences in Brazil, in addition to dialoguing with Câmara (1941), Duarte (2010), Koster (1942) among others and others who assisted in the construction of historical and Social in which Nísia Floresta lived his wanderings in Brazilian lands. In this context, we seek to explore the context of each place where the traveler passed. From the climate of revolt that erupted during the nineteenth century and which since childhood has accompanied her, her childhood surrounded by books, early marriage, contact with the students of the Right Faculty of Olinda until her stay in Rio de Janeiro, where she founded the Collegio Augusto. In fact, the travels of the Forest revealed to us a strong, daring woman ahead of her time. A traveler with a reflective look, unique trajectories and experiences wherever he went. Denouncing beyond the conditions of submission by which the women of their time passed the reality of teaching offered. Keywords: Nísia Floresta; Travels; Education; History.

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Oliveira, Wladecir Salles de, and Siu Mui Tsai. "Bean cultivation in a subsistence farming system in the northeast of São Paulo state - Brazil." Scientia Agricola 58, no. 2 (June 2001): 265–69. http://dx.doi.org/10.1590/s0103-90162001000200008.

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The colonization of the State of São Paulo, Brazil of the northeastern region, is related to historical movements, such as "tropeirismo" (séc. XVIII and XIX) and Italian immigration (séc. XIX). The agriculture presently practices used by farmers descendent of immigrants does not differ from the techniques used at the beginning of the century. In the Cunha region of the Atlantic Rain Forest ecosystem poor bean yield associated with low fertilizer input, plant disease and soil erosion led to slash-and-burn farming. This work is an attempt at identifying sustainable farming practices that would minimize bean disease and maximize nitrogen assimilation. For that purpose soil fertility and plant cultivar were studied under standard agronomic practices to determine their effect on seed yield, total nitrogen of grain and number of root nodules. Fertilization, liming and molybdenum from 16 sites increased yield by 342% and 369% for the landrace `Serro Azul' and commercial variety `Carioca 80 SH', respectively. In addition, plants grown with fertilizer presented more nodules and more nitrogen in grain per hectare. The increase of crop yield per hectare might increment the family income and reduce deforestation of the Atlantic forest.

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Júnior, Osmário Estevam. "A SCHOTTISH NO BRASIL NO FIM DO SÉCULO XIX / SCHOTTISH IN BRAZIL AT THE END OF THE 19TH CENTURY." Brazilian Journal of Development 6, no. 9 (2020): 66080–88. http://dx.doi.org/10.34117/bjdv6n9-150.

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Dantas, George Alexandre Ferreira, Angela Lúcia Ferreira, and Yuri Simonini. "Desenhando territórios: a cartografia de Cândido Mendes e o “Nordeste” brasileiro do século XIX." Revista Brasileira de Estudos Urbanos e Regionais 13, no. 2 (November 30, 2011): 87. http://dx.doi.org/10.22296/2317-1529.2011v13n2p87.

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Em meados do século XIX, a articulação sistematizada do território da nação brasileira foi formulada como ponto-chave para a estruturação da economia e da sociedade modernas. Esse intento ultrapassava as antigas demandas de controle geopolítico e encontrou nas estiagens prolongadas nas “províncias do norte” um sério problema. Falar de nova estrutura territorial pressupõe indagar: que conhecimentos e informações iconográficas sobre o território em reorganização tinham aqueles que adentraram no “Brasil desconhecido”? Discutir pertinências e limites do uso das fontes cartográficas como documentos que permitam compreender as ações sistematizadas sobre o território nordestino é o objetivo deste artigo. Para tanto, privilegiar-se-á o “Atlas do Império do Brazil”, organizado por Cândido Mendes de Almeida, em 1868, com ênfase nas províncias mais atingidas pelas secas: CE, RN, PE e PB. O Atlas é lido assim dentro da trama de relações da formação da cultura técnica moderna no Brasil e, mais especificamente, dos processos que levariam à definição da região Nordeste. Palavras-chave: atlas; Cândido Mendes; cultura técnica; Império; reconfiguração territorial; Nordeste/Brasil. Abstract: In the mid-nineteenth century, the systematic articulation of Brazilian territory was formulated as an essential issue to forge modern economy and society. This attempt overcame old geopolitical control demands and delineated long-term droughts in “northern provinces” as one of the major problems. Thus, it is fundamental to investigate which knowledge and cartographical information were handled by those who went upon “unknown Brazil”. This article aims to analyze the limits of cartographical sources as historical documents to comprehend planned and systematic actions on the territory of Brazilian Northeast. For this analysis, we focus on the “Atlas do Império do Brazil” [Atlas of Brazilian Empire], edited by Cândido Mendes de Almeida, in 1868, emphasizing the provinces of Ceará, Rio Grande do Norte, Pernambuco and Paraíba, the most affected by the climate phenomena. The Atlas may be understood, therefore, as part of the arena of relationships which developed modern technical culture in Brazil and, more specifically, as part of the processes that lead to the definition of Northeast as an official region. Keywords: atlas; Cândido Mendes; technical culture; Empire; territorial reconfiguration, Northeast/Brazil.

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Castro Brunetto, Carlos Javier. "EL MUEBLE EN BRASIL A TRAVÉS DE LA PINTURA DE LA ETAPA IMPERIAL (1822-1889) The Furniture in Brazil through the Painting of the Imperial Time (1822-1889)." Res Mobilis 5, no. 6 (I) (December 14, 2016): 208. http://dx.doi.org/10.17811/rm.5.2016.208-227.

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La historia del mueble en Brasil es poco conocida. En este trabajo estudiamos el impacto que la proclamación de la Independencia del Brasil y el inicio de la etapa imperial tuvo sobre la apreciación social y cultural del mueble. Durante el siglo xix los muebles brasileños mantuvieron la tradición heredada del periodo colonial, pero en la corte y en los entornos más sofisticados se introdujeron muebles de influencia francesa que completarían el panorama de la historia del mueble en Brasil. La manera en que se produjo ese proceso es el objetivo de nuestro trabajo.

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Carneiro, Maria Luiza Tucci. "Sanctity and evilness: a case of diabolic possession in Ourém (Brazil) in the 18th century." Revista de História das Ideias 8, Tomo I (1986): 161–81. http://dx.doi.org/10.14195/2183-8925_8-1_7.

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Figueiredo, Margareth Gomes de, Humberto Varum, and Aníbal Costa. "Aspects of the civil architecture of the nineteenth century in São Luís do Maranhão, Brazil." Conservar Património 15-16 (2012): 41–68. http://dx.doi.org/10.14568/cp15-16_3.

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Journal articles on the topic 'Painting in Brazil in the XIX century'

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