Dissertations / Theses on the topic 'Piet Mondrian'

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This work aims at establishing dialogues between Augusto de Campos’ poetry and Piet Mondrian’s painting. Grounded in Russian School of Semiotics, we will show the poetic journey of the first one and the creative trajectory of the second one, in order to highlight some aesthetic convergence between them. The peculiarities of each artist and each of their studied works will be described based on Semiotics studies mentioned above. So, understanding the culture as aggregator tissue of symbolic systems is essential for the construction of our analysis, since it supports the arguments that aim at converging together two artists distant in time and space. Brazilian poetry and European painting will be presented in the chapter of analysis through four sections that already highlight evidences of dialogue in their works. The modern deconstruction view of the text and of the vanguard vitality will be perceived as confluent points and strong tension issues in each section of this investigation. Observing the poetic work in painting and the pictorial behavior in poetry directs the paths we pursue in this study
Com o presente trabalho, temos o objetivo de traçar diálogos entre a poesia de Augusto de Campos e a pintura de Piet Mondrian. Embasados em preceitos da Semiótica da Cultura, de extração russa, traçaremos o percurso poético deste poeta paulista, bem como a trajetória criativa do pintor holandês, a fim de apontar os pontos de comunhão de perspectiva e de confluência de pensamento estético, sem esquecer de garantir as peculiaridades de cada obra e de cada artista. Entender, portanto, a cultura enquanto tecido agregador de sistemas simbólicos é primordial para a construção de nossas análises, na medida em que sustenta as argumentações que visam confluir dois artistas distantes entre si no tempo e no espaço. A poesia brasileira e a pintura europeia serão apresentadas em nosso capítulo de análise por meio de quatro seções que já apontam indícios de diálogos das obras. Partindo dos conceitos de moldura e de revisão de tradição, chegaremos à visão de desconstrução do texto e de vitalidade das vanguardas como pontos confluentes e de forte tensão em cada seção de nossas investigações. Observar o trabalho poético na pintura e o comportamento pictural na poesia rege os caminhos por nós perseguidos neste estudo.

CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
As obras de Piet Mondrian e Richard Serra possuem profunda relação com a metrópole. Seus trabalhos abrangeram distintas temporalidades urbanas no decorrer do século XX, e foram permeados direta e indiretamente pela música e pela dança, artes temporais igualmente circunscritas ao fenômeno urbano. Mondrian identifica no ambiente moderno, dinâmico e veloz, da Paris da primeira metade do século XX, as premissas de sua teoria oplástica do equilíbrio universal. Procurava realizar sua teoria em outras artes além da pintura, de modo que ao integrar-se à vida, a arte desapareceria. Sua chegada a América coincide com a transferência do centro artístico mundial de Paris para Nova York. No rico embate entre Europa e América, percebemos as diferenças entre a monumental escala do Novo Continente e a permanente atividade de seu povo, em contraposição às dimensões tímidas e o temperamento contemplativo do homem do Velho Continente. Hoje, a mecanização das metrópoles já não é mais polêmica ou fascinante, mas responsável pela monótona e repetitiva vida urbana da qual partiu a obra dos Pós-Minimalistas, entre os quais, Richard Serra. O caráter utópico da intura de Mondrian, cuja virtualidade se queria transformadora da realidade, visando a sociedade madura exemplificada pela América, está ausente na arte do pós- guerra. Os planos inseridos por Serra no tecido urbano não querem su-cumbir ao colapso do grid cubista, buscam o embate literal entre o habitante da metrópole e as coisas que o cercam, num mundo já muito pouco palpável.
The works of Piet Mondrian and Richard Serra are profoundly related to the metropolis. Their works embrace different urban temporalities elapsed in the twentieth century. They were directly and indirectly influenced by music and dance, temporal arts equally confined to the urban phenomenon. Mondrian identifies the universal balance premises of his neoplastic theory in the modern, dynamic and fast Parisian environment of the first half of the twentieth century. He tries to accomplish his theory in other arts besides painting, so that by integrating art in life, the former would disappear. His arrival in America coincides with the artistic world center move from Paris to New York. In the cultural clash between Europe and America, one realizes the differences between the New World`s monumental scale and its dynamic people, against the shy dimensions and contemplative nature of the men in the Old Continent. The metropolis` mechanization is no longer polemic or fascinating, but responsible for the monotonous and repetitive urban life, from which the Post-Minimalists emerged, among them Serra. The utopian character of Mondrian`s painting, whose virtuality intended to transform reality, like America`s ripe society example, is absent in post-war art. The planes inserted by Serra in the urban fabric don`t intend to succumb to the cubist grid`s collapse. They seek the literal clash between the metropolis citizen and what surrounds him, in a very little tangible world.

Notre thèse vise à étudier comparativement le rapport esthétique entre le poète brésilien JoãoCabral de Melo Neto (1920-1999), le peintre hollandais Piet Mondrian (1872-1944) et lepeintre catalan Joan Miró (1893-1983). On connaît la proximité de João Cabral aux Arts, ycompris son intérêt à l’arrangement esthétique soutenu par certains artistes (du Baroque à laModernité). Cette façon d’agir lui assurait une méthode de travail : en parlant d’un artiste, desa compréhension du monde et de son esthétique, João Cabral les intégrait aussi dans sapropre poésie. En effet, il n’est pas aléatoire qu’il ait produit des poèmes où les noms de PietMondrian et Joan Miró apparaissent. D’ailleurs, en 1950, João Cabral a publié un textecritique sur l’oeuvre de ce peintre catalan, dont le titre est Joan Miró. Pour tout cela, nouscherchons dans notre étude de doctorat à vérifier les procédés esthétiques soutenus par PietMondrian et Joan Miró que l’on pourrait classifier comme semblables à ceux utilisés par JoãoCabral de Melo Neto dans sa poésie
Our research aims to study the work of the Brazilian writer João Cabral de Melo Neto incomparison to some paintings of the Dutch painter Piet Mondrian and of the Catalan painterJoan Miró. By means of the discussion about both the creative model of the two painters andwhat João Cabral focuses aesthetically on them, we try to comprehend how these aestheticprinciples are literarily debated by the poet and how they would characterize or wouldn’t hispoetic. For this reason, we have selected the Poet’s initial phase, mainly the books Psicologiada Composição [Psychology of the Composition] and Uma faca só lâmina [One knife that isnothing but blade]. By the study of these two books, we can observe that João Cabral’s poetry is not only architected out of the object (in a model of depuration) but also out of the image(in a model of reconfiguration). In the first case, we see proximity between João Cabral’saesthetics and Mondrian’s one, and in the second case we see proximity between JoãoCabral’s aesthetics and Miró’s one

Nossa pesquisa tem por enfoque o estudo da poética de João Cabral de Melo Neto (1920- 1999) comparativamente a obras dos pintores Piet Mondrian (1872-1944) e Joan Miró (1893- 1983). Tentamos entender, através do perfil criador dos dois pintores e também daquilo que o poeta destacava esteticamente neles, o quanto tais preceitos estéticos são literariamente discutidos na obra cabralina e o quanto (e como) eles caracterizariam ou não a poética desse escritor pernambucano. Para tanto, escolhemos a fase inicial do poeta, dando preferência aos livros Psicologia da Composição e Uma faca só lâmina. Com o estudo dessas obras e daquilo que de forma esparsa está presente também em outros livros, alcançamos, por exemplo e grosso modo, que a poesia de João Cabral, destacadamente arquitetada no amparo do objeto (num perfil de depuração), apresenta ainda com relevo o trabalho com a imagem (num perfil de reconfiguração). No primeiro caso, enxergamos uma proximidade à estética de Mondrian; no segundo, à de Joan Miró. Por fim, verificamos como a poesia de Cabral, aparentemente apenas rígida, é destacada também por certas dinâmicas que lhe rompem a rigidez.
Our research aims to study the work of the Brazilian writer João Cabral de Melo Neto in comparison to some paintings of the Dutch painter Piet Mondrian and of the Catalan painter Joan Miró. By means of the discussion about both the creative model of the two painters and what João Cabral focuses aesthetically on them, we try to comprehend how these aesthetic principles are literarily debated by the poet and how they would characterize or wouldnt his poetic. For this reason, we have selected the Poets initial phase, mainly the books Psicologia da Composição [Psychology of the Composition] and Uma faca só lâmina [One knife that is nothing but blade]. By the study of these two books, we can observe that João Cabrals poetry is not only architected out of the object (in a model of depuration) but also out of the image (in a model of reconfiguration). In the first case, we see proximity between João Cabrals aesthetics and Mondrians one, and in the second case we see proximity between João Cabrals aesthetics and Mirós one.

Notre thèse vise à étudier comparativement le rapport esthétique entre le poète brésilien JoãoCabral de Melo Neto (1920-1999), le peintre hollandais Piet Mondrian (1872-1944) et lepeintre catalan Joan Miró (1893-1983). On connaît la proximité de João Cabral aux Arts, ycompris son intérêt à l’arrangement esthétique soutenu par certains artistes (du Baroque à laModernité). Cette façon d’agir lui assurait une méthode de travail : en parlant d’un artiste, desa compréhension du monde et de son esthétique, João Cabral les intégrait aussi dans sapropre poésie. En effet, il n’est pas aléatoire qu’il ait produit des poèmes où les noms de PietMondrian et Joan Miró apparaissent. D’ailleurs, en 1950, João Cabral a publié un textecritique sur l’oeuvre de ce peintre catalan, dont le titre est Joan Miró. Pour tout cela, nouscherchons dans notre étude de doctorat à vérifier les procédés esthétiques soutenus par PietMondrian et Joan Miró que l’on pourrait classifier comme semblables à ceux utilisés par JoãoCabral de Melo Neto dans sa poésie
Our research aims to study the work of the Brazilian writer João Cabral de Melo Neto incomparison to some paintings of the Dutch painter Piet Mondrian and of the Catalan painterJoan Miró. By means of the discussion about both the creative model of the two painters andwhat João Cabral focuses aesthetically on them, we try to comprehend how these aestheticprinciples are literarily debated by the poet and how they would characterize or wouldn’t hispoetic. For this reason, we have selected the Poet’s initial phase, mainly the books Psicologiada Composição [Psychology of the Composition] and Uma faca só lâmina [One knife that isnothing but blade]. By the study of these two books, we can observe that João Cabral’s poetry is not only architected out of the object (in a model of depuration) but also out of the image(in a model of reconfiguration). In the first case, we see proximity between João Cabral’saesthetics and Mondrian’s one, and in the second case we see proximity between JoãoCabral’s aesthetics and Miró’s one

For almost 35 years the work carried out by the Brazilian artist Lygia Clark between the 1950s and until her death, in 1988, has attracted the attention of both Brazilian and European scholars and critics. Since special attention has only been given to her post-1969 work, the work carried out until 1969 has been overlooked. In particular, I would argue that through the incorporation of the human body Clark's 1959-1964 Bicho series is the first spatial performative strategy developed by Clark during the 1960s and against which all her subsequent production needs to be read.
The present essay is thus an attempt to read as spatial performative strategies Clark's Bicho series with and against the Brazilian reception of Mondrian, reception which, as I would argue has been overlooked in the context of her work. Furthermore, I would argue that in order for us to better understand how the Bicho series unfold as spatial performative strategies the Brazilian reception of Mondrian must be approached through the Brazilian reception of Merleau-Ponty's phenomenology and political and cultural movements of the time. While the role played by Merleau-Ponty's incorporation of the human body in Clark's work has not been closely examined, Clark's engagement with the political and cultural movements of her time has been underestimated. I would argue that any attempt to give an account of Clark's practice needs to take into consideration the role these three aspects played in her engagement with the problem of representation.

Aquesta tesi explora els orígens de la pintura abstracta des d'un punt de vista eminentment conceptual. Parteix de la hipòtesi que l'abstracció es pot considerar la culminació dels ideals estètics del Simbolisme finisecular; i considera que un dels elements de continuïtat entre Simbolisme i abstracció fou l'ideal de l'obra d'art total o Gesamtkunstwerk. La tesi estudia els pintors Vassily Kandinsky i Piet Mondrian per mostrar, a través de l'anàlisi de les seves obres i textos, que aquest ideal d'obra total fou per ambdós un leit-motiv fonamental en la seva evolució vers l'abstracció. En el cas de Kandinsky s'estudien especialment les seves composicions escèniques, i en el cas de Mondrian, l'arranjament del seu estudi, projectes en el marc dels quals es va desenvolupar la seva pintura. En ambdós casos, com també en el Simbolisme, el projecte de l'obra d'art total es considera tant des de la vessant artística, com en relació al seu valor utòpic.
This thesis explores the origins of abstract painting from a predominantly conceptual point of view. It begins with the hypothesis that abstraction may be considered as the culmination of the aesthetic ideals of turn of the century Symbolism, and considers that one of the elements of continuity between Symbolism and abstraction was the ideal of the total work of art, or Gesamtkunstwerk. The thesis studies the painters Wassily Kandinsky and Piet Mondrian to show, through analysis of their works and texts, that this idea of the complete artwork was a fundamental leitmotif for both artists in their evolution towards abstraction. In the case of Kandinsky, it studies in particular his scenic compositions and, in the case of Mondrian, the layout of his studio, the framework within which their painting was developed. In both cases, as in Symbolism, the project of the total work of art is considered as much from the artistic viewpoint as in relation to its utopian value.

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CAPES
The process of teaching and learning in the disciplines of Arts and Mathematics in the Elementary School faces a number of diffculties. These difficulties experienced by teachers and students in the school context emphasize the need to rethink the pedagogical practices involving these disciplines. The purpose of this paper is to discuss interdisciplinary possibilities of Arts and Mathematics, recognizing in particular the contributions that such an approach can help in Geometry learning in Elementary School. For this analysis was used the work "Composition in Red, Yellow and Blue" of artist plastic Piet Mondrian as starting point for developing a pedagogical activity that promotes dialogue between Art and Geometry. Through the image reading process and discussion of geometric concepts, we propose a pedagogical activity for the 6th year of Elementary School. In a complementary character and qualitative look, we apply the proposed activity to a group of students of this series of the Escola Municipal Tatiana Chagas Mem?ria, from the municipal education network of the city of Rio de Janeiro.
O processo de ensino e aprendizagem das disciplinas de Artes e Matem?tica no ?mbito do Ensino Fundamental enfrenta uma s?rie de difculdades. Essas dificuldades vivenciadas por professores e alunos no contexto escolar enfatizam a necessidade de repensarmos as pr?ticas pedag?gicas que envolvem essas disciplinas. A proposta deste trabalho ? refletir sobre possibilidades interdisciplinares entre Artes e Matem?tica, reconhecendo, em particular, as contribui??es que uma abordagem deste tipo pode auxiliar no aprendizado de Geometria no Ensino Fundamental. Para isso foi utilizada a an?lise da obra ?Composi??o em Vermelho, Amarelo e Azul? do artista pl?tico Piet Mondrian como ponto de partida para elabora??o de uma atividade pedag?gica que promovesse o di?logo entre Artes e Geometria. Atrav?s do processo de leitura de imagem e da discuss?o de conceitos geom?tricos, propomos uma atividade pedag?gica voltada para o 6? ano do Ensino Fundamental. Em car?ter complementar e com um olhar qualitativo, aplicamos a atividade proposta a um grupo de alunos dessa s?rie da Escola Municipal Tatiana Chagas Mem?ria, da rede municipal de educa??o da cidade do Rio de Janeiro.

L'idée de l'ambiguïté sexuelle permet d'englober tout ce qui rend impossible l'idée de sexe déterminé, hermaphrodites, androgynes, travestis, eunuques, castrats, femmes masculines ou à barbe, hommes gynécomastes, efféminés, etc. , que ce soit dans l'appréhension du réel ou dans sa recréation artistique. La réflexion menée ici propose de ne pas détacher l'histoire de l'art de l'histoire de l'appréhension du réel. Dans la seconde moitié du XVIIIe siècle Winckelmann offrait comme modèle aux artistes un idéal esthétique qui a profondément marqué son siècle et le suivant. Or, Winckelmann qui se passionnait pour les sciences du vivant de son temps tout autant que pour les œuvres d'art pensait, en effet, que les Anciens s'étaient inspirés du corps des castrats et des hermaphrodites pour construire un corps humain idéal mêlant la beauté des sexes. Jusqu'au début du XXe siècle avec Mondrian, l'ambiguïté sexuelle imaginée est souvent appréhendée par rapport à l'ambiguïté réelle - celle des hermaphrodites particulièrement - à laquelle la science s'intéressait de très près. C'est donc par rapport à la figure humaine qu'une des voies de passage à l'abstraction est ici abordée. En effet, jusqu'à maintenant on a souvent abordé la question du passage à l'abstraction par le biais du paysage, pourtant, il est possible de proposer qu'en se penchant sur le réel à travers la figure humaine ambiguë les artistes sont aussi parvenus à l'abstraction.

The thesis examines the architecture of Mies van der Rohe through the observation of a work projected since 1959: the Chicago Federal Center. From here it attempts to reveal the formal sense of his architecture inquiring about how the visual criteria with which he constructs objects relate to the way Neoplasticism conceives. The purpose has been to verify if, and to what extent, the idea of form as relation present throughout his ouvre is a consequence of the adoption and development of the system of relations proposed by Mondrian in his painting. On many occasions certain works of Mies have been compared to those of De Stijl group, whose foundation is in Mondrian's work. However these comparisons have been established when the resemblance is obvious. The thesis proposes that Mies's Neoplasticism is not only in what is apparent and that this is not its trully important relation . Mies's Neoplasticism is in his formative principie, hence, it is the essence of all his works, including those in which it is not noted at a glance. This proposition is based on the true dimension of Mondrian's approach, whose proposal is not a modification of appearence but the establishment of universal criteria with which conceive form. According to Mondrian, appearence cannot be understood separated from the formal structure that determines the object's identity. His proposal conceives form in accordance to criteria of relation that seek balance and contain the attributes of order, precision and universality to which abstraction aspires. It is in this sense that each form of art finds the relation of balance in its own field, through its own means. The procedure followed is that of visual enquiry, focusing the attention on the object. In consequence the most important documents are the works themselves. The chapter "Mondrian's Neoplasticism" is a dissertation about the composition and the means that conform it with the intention of understanding his proposal. The relation is visual since it was through painting that he formulated the system of configuration studied here. "The Chicago Federal Center" looks closely into Mies's ensemble, which serves as the axis of this study. "The Project" focuses on the process of its production. The analysis makes use of the experience of the work and of two fundamental tools for its understanding and judgement: drawing and photography. Both allow us to recognise the project's activity and to comprehend the ways of procedure more thoroughly. "The Process" shows how the Federal Center -a solution to the specifics of the comission- corresponds to the universal criteria that Mies developed throughout his career. "About Mies van der Rohe's Neoplasticism in critique" refers to the principal comparisons that have been made related to the idea of Neoplasticism as formative principie developed here. The thesis focuses on the Federal Center because it represents a culminating moment in Mies's trajectory. In this work he gathers his vast experience to construct a space relating two of the types he had developed so far: the ensemble is conformed by two towers of different dimensions and a single-story pavilion. These elements solve the comission while structuring a space that concentrates and intensifies the formal and spatial values of the site: the Chicago Loop. The complexity of the Federal Center allows analysis of Mies's work in an ample manner, observing how the criteria linking the buildings to each other and to the city, are akin to those established between the elements that solve the structure and enclosures of each building; and how these are the result of those that form the constructive solution, starting point of the whole work. In Mies, Neoplasticism acquires consistency, as the pure relation he strives to reach converges with essential aspects of the architectonic, developing Mondrian's formative proposal in its most trascendent dimension.
La tesis examina la arquitectura de Mies van der Rohe mediante la observación de una obra que proyectó a partir de 1959: el Federal Center de Chicago. Desde aqui intenta desvelar el sentido formal de su arquitectura indagando cómo los criterios visuales con los que la construye se relacionan con el modo de concebir del neoplasticismo. El objetivo ha sido verificar si, y en qué medida, la idea de forma como relación presente en su obra es consecuencia de la adopción y desarrollo del sistema de relaciones que Piet Mandrian propuso en su pintura. En muchas ocasiones determinadas obras de Mies han sido comparadas con las del grupo De Stijl, cuyo fundamento está en la obra de Mondrian. Pero estas comparaciones se han establecido cuando el parecido es obvio. La tesis plantea que el neoplasticismo de Mies no está solo en lo aparente y que esta no es su relación realmente importante. El neoplasticismo de Mies está en su principio formativo y, por lo tanto, es la esencia de todas sus obras incluyendo aquellas que no lo parecen a simple vista. Esta proposición se basa en la verdadera dimensión del planteamiento de Mondrian cuya propuesta no es una modificación de la apariencia sino la formulación de criterios universales para concebir la forma. Para Mondrian la apariencia no se puede entender separada de la estructura formal que determina la identidad del objeto. Su propuesta concibe la forma de acuerdo a criterios de relación que buscan el equilibrio y contiene los atributos de orden, precisión y universalidad a los que aspira la abstracción. Es en ese sentido que cada arte encuentra la relación equilibrada en su propio terreno, con sus propios medios. El procedimiento que se ha seguido es el de la visualidad indagadora, centrando la mirada en el objeto. Por lo tanto los documentos más importantes son las obras mismas. El capitulo "El neoplasticismo de Mondrian" es una exposición sobre la composición y los medios que la forman con el objeto de entender su propuesta. La relación es visual porque fue pintando como formuló el sistema que aqui se estudia. "El Federal Center de Chicago" observa con atención el conjunto de Mies que sirve como eje al trabajo. "El proyecto", el proceso de su producción. El análisis se vale de la experiencia de la obra y de dos herramientas fundamentales para su conocimiento y juicio: el dibujo y la fotografía. Ambos permiten conocer la actividad del proyecto y comprender sus modos de proceder. "El proceso" muestra cómo el Federal Center, que es una solución a las particularidades del encargo, corresponde a criterios universales que Mies desarrolló a lo largo de su carrera. "Sobre el neoplasticismo de Mies van der Rohe en la critica" se refiere a las principales comparaciones que se han establecido relacionándolas con la idea de neoplasticismo como principio formativo que aquí se desarrolla. La tesis se centra en el Federal Center porque este supone un momento culminante en la trayectoria de Mies. En esta obra recoge su larga experiencia para construir un espacio relacionando dos de los tipos que había desarrollado hasta entonces: el conjunto está constituido por dos torres de diferentes dimensiones y un pabellón de una planta. Estos elementos solucionan el encargo a la vez que estructuran un espacio en el que se concentran e intensifican los valores del sitio: el Loop de Chicago. La complejidad del Federal Center permite analizar la obra de Mies de manera amplia, observando cómo los criterios que relacionan los edificios entre si y con la ciudad son análogos a los que se establecen entre los elementos que resuelven la estructura y cerramientos de cada edificio; y como estos son consecuencia de los que forman la solución constructiva, punto de partida de toda la obra. En Mies el neoplasticismo adquiere consistencia, en tanto que la relación pura a la que trata de acceder converge con aspectos esenciales de lo arquitectónico, desarrollando la propuesta formativa de Mondrian en su dimensión más trascendente.

Le terme de théosophie est souvent associé aux premiers peintres non-figuratifs. Pourtant peu de critiques ont approfondi la question, estimant que le fait relevait de la sphère personnelle et non d'un intérêt plastique. Néanmoins, l'émergence d'une nouvelle forme de peinture est intimement liée aux idées d'une époque : à la fin du XIXe siècle, la rapide industrialisation est ressentie comme une perte spirituelle pour beaucoup. Fondée en 1875 par H. P. Blavatsky, la Société Théosophique concrétisait ces nouvelles aspirations. Elle prétendait concilier les contraires : la Religion et la Science, l'Orient et l'Occident pour retrouver une Unité Originelle. Elle contribua à populariser les philosophies de l'Inde. Les ouvrages de Leadbeater et de Besant contenaient de nombreuses illustrations relatives à l'aura, cet halo coloré entourant tout être humain. Rudolf Steiner, éditeur du "Traité des couleurs" de Goethe, sut tirer des applications pratiques. A partir de là, les artistes disposaient d'un répertoire plastique : couleurs et formes pouvaient exprimer directement le spirituel. Par exemple, Kandinsky évoquera la "nécessité intérieure" ; Mondrian recherchera l'harmonie à travers les oppositions perçues comme complémentaires ; tous font état d'une idéologie donnée pour justifier le passage vers une nouvelle forme de peinture
The term of theosophy is often associated to the first non-representational painters. However few criticisms deepened the question considering that the fact recovered from the personal sphere and not of a plastic interest. Nevertheless, the emergence of a new shape of painting depends on the ideas of time : at the end of the nineteenth century, the fast industrialization is felt as a spiritual loss for many. Founded in 1875, the Theosophical Society gave concrete expression to theses new expectations. It claimed to reconcile opposite : the Religion and the Science, the East and the West to find an original Unity. It contributed to popularize the Indian philosophy. The works of Leadbeater and Besant contained numerous illustrations relatives to the aura, the coloured halo surrounding every human being. Rudolf Steiner, publisher of the "Treaty of colours" of Goethe, deduce practical applications of it. From there, the artists had a plastic repertory : colours and forms could directly expressed the spiritual. For example, Kandinsky will evoke the "internal necessity" ; Mondrian will look for an harmony through the oppositions perceived as additional. All state an ideology given to justify the passage towards a new shape of painting

This thesis project examines both inner and outer circumstances of knowledge in an attempt to emphasize the importance of personal reflection. I search for answers on how to communicate feelings through colour and form by studying Mark Rothko and the abstract expressionism. A personal reflection is made parallelly to expand my own understanding of the subject and my own role in relation to it. I also explore painting as amethod of deepening my understanding of Rothko. Mark Rothko is both subject of study and tutor as I give myself the task of translating his art into my own design. The result offers thoughts and ideas on the significance of the work of hand, the use of colour and the meaning of intention, which I claim are important aspects when aiming for emotional results. However I also reflect upon the fact that the communication remains individual and that it is therefore problematic to confirm success in this matter.
Detta är ett undersökande arbete som vänder sig både inåt och utåt. Det är en djupdykning i Mark Rothkos konstnärskap som sker parallellt med en personlig reflektion. Inledningsvis handlar det om att arbeta i gränslandet mellan konst och design och hurdet kan se ut. I förlängningen handlar det om hur den konstnärliga historien kan fungera som inspiratör och vägledare för innebörd och uttryck i formgivningen. Genom att studera den abstrakta expressionismen och Mark Rothko söker jag svar på hur känslomässig kommunikation kan ske genom färg och form. Förutom litterär research utför jag också en praktiskt undersökning där jag använder måleriet som en metod för att förstå mitt studieobjekt; Mark Rothko. Målet är att översätta Mark Rothkos konst till min design. Det handlar om att studera, internalisera och applicera. Resultatet bjuder in till en diskussion om handlagets, färgens och intentionens betydelse för formgivningen, där jag hävdar att dessa aspekter är viktiga för ett emotionellt berörande resultat, men att kommunikationen förblir individuell.

Piet Mondrian, one of the most significant representatives of modern abstract art, applied himself, aside from his own art work, to writing of theoretical texts. In his essays, he did not advocate for his own paintings, neither did he manifest any particular art movement. In these texts, one can trace rather general aesthetically-theoretical reflection on art, on the development of our world and on the position of a man in modern society. This thesis introduces Mondrian's comprehensive conception of art in light of aesthetics and the philosophy of art. It touches on the substance and function of art, on artistic means, on the role of an artist and on the meaning of art related to society and its development. The thesis focuses on the bases of Mondrian's theory and its influences. In addition, it presents various ideas of other contemporary avant-garde movements that somehow inspired Mondrian and that, together with his conception of art, create a certain context of the artistic atmosphere of the first half of the 20th century. The thesis draws from Mondrian's original texts that have, in most cases, not been translated into Czech, yet.

Relatório da prática de ensino supervisionada, Mestrado em Ensino de Artes Visuais, Universidade de Lisboa, Instituto de Educação, 2018
O presente relatório da prática de ensino supervisionada documenta todo o processo de conceção, operacionalização e avaliação de uma unidade curricular no âmbito da disciplina de Oficina de Artes do 12.º ano do Curso Científico-Humanístico de Artes Visuais do Ensino Secundário, na Escola Secundária de Casquilhos, no Barreiro. O mote desta unidade consistiu no desenvolvimento de um projeto em que os alunos tiveram de transpor para a tridimensionalidade a obra “Composição com Vermelho, Amarelo, Azul e Preto” (1921) do pintor Piet Mondrian, partindo para tal de uma análise exploratória da profundidade implícita e/ou potencial de cada um dos seus elementos estruturantes, seguida da mobilização crítica de um conjunto de saberes prévios provenientes de disciplinas como História da Arte, Desenho, e Geometria Descritiva, a culminar na construção de um modelo tridimensional da obra. Pretendeu-se deste modo promover nos alunos a compreensão da utilidade dos vários sistemas de representação gráfica e/ou física do espaço e das formas nos seus processos de análise, manipulação e comunicação. Pretendeu-se também melhorar as competências dos alunos no domínio do espaço e das formas tridimensionais. Dos resultados obtidos foi possível concluir que os alunos alcançaram com sucesso os objetivos e as metas estabelecidos, tendo todos eles obtido uma avaliação positiva no trabalho desenvolvido. Os alunos foram capazes de realizar este projeto em colaboração estreita entre si, tendo para isso desenvolvido estratégias de relação que se cruzam com os quatro grandes objetivos da educação para o Século XXI (Delors, 1996): aprender a conhecer, aprender a fazer, aprender a estar juntos e aprender a ser.
The current report of supervised teaching practice documents the entire process of conception, implementation and evaluation of a curricular unit on the scope of the subject of Oficina de Artes from the 12th grade of the Scientific--Humanistic Course in Visual Arts, which took place at Casquilhos High School, in Barreiro. The motto for this unit was the transposition to the third dimension of Piet Mondrian’s painting Composition with Large Red Plane, Yellow, Black, Grey and Blue (1921). For this purpose, the students had to develop a project starting from an exploratory analysis of the implicit and/or potential depth in each element presented in the composition, followed by a critical mobilization of previously acquired knowledge in subjects such as History of Art, Drawing, and Descriptive Geometry, culminating on the construction of a tridimensional model of this artwork. This project aimed to promote the students’ comprehension on the utility of the various graphical and physical systems of representation of space and form for purpose of analysis, manipulation and communication, as well as to improve their spatial reasoning skills. From the results it was possible to verify that the students successfully achieved the aims and goals proposed, with all of them attaining positive grades. The students were capable of developing this project in close collaboration amongst themselves, employing for this purpose a set of strategies that suit the four pillars of education for the twentieth century (Delors, 1996): learning to know, learning to do, learning to be, and learning to live together.

Tese de mestrado, Pintura, Universidade de Lisboa, Faculdade de Belas Artes, 2013
The main topic of Arquitetura Como Pintura is based on the grid element. This study aims to explore other subjects such as shape, balance, composition and proportion, which derive from the same element and are related directly with the practical work developed. Therefore, one proceeds to the study of its application in two different areas of painting, such as: the abstraction - which focuses particularly on Neoplasticism - and modern architecture - whose analysis focuses mainly on the theories of Le Corbusier and the use of "grid proportions" of the “Housing Unit”, Unité d'Habitation de Marseille.The fact that architecture is seen essentially as a tangible and functional object, does not mean it can not be considered as purely visual and abstract work. One purpose of this study concerns the possibility to interpret the architectural object in a way that approaches painting considering its sensitive and plastic nature

The central subject of this work is how the drawing can be fundamental and crucial as a tool for product and service development in design. The work starts with a historical analysis of the drawing theory to achieve a clear view of how sketch and drawing can stimulate creativity. This work passes through three stages. First, a historical review where is investigated the drawing as a project aid; the unique value of him; and also the differences and resemblances between sketch and drawing. Secondly, the contemporary utility given to him in the design world, where the concept of design is defined; the way drawing entered in the fine arts landscape; and the primordial functions of the drawing in the creative process used by the designer to create. Third, the elaboration of a graphic exploitation of three objects, that puts in practice some of the investigated theoretical questions, such as the use of the sketch in the first phase of a project – Discovery – when the record is as ambiguous as the own concept; and the achievement of the total definition of a project only using drawing. Based on the theoretical investigation and in the practical exploration is possible to claim that the sketch helps to define the problematic of the issues proposed to the designer and that the drawing defines the solution. In other words, the drawing provides the discovery of new forms and meanings that can result in an innovative object. The practical project revealed the possibility of drawing and sketching the same three objects with countless approaches with only one starting point. The movement and gesture were the fundamental elements to make that happen. It can confirm that the drawing benefits from a personal language, expressed by point and line. The necessary information used to the elaboration of this investigation can be found in the bibliographical list at the end of the work. All the information was analyzed and filtered to guaranteed the veracity of the work.

The early stages of my research had focussed on the general idea of place as landscape in painting, centering on the Warlpiri country of the Central Desert. This perspective on place was quickly challenged by ideas of, experiences in and responses to those places I then visited as part of this research. My research eventually became an investigation into the language of painting, informed by ideas and different cultural forms and resulting in a one that has reconstructed my practice. I have explored how the contemporary language of abstract painting can engage with the experience of different cultural contexts both western and indigenous, specifically in the areas of visual art and music. Western artists I have considered are Paul Klee and Piet Mondrian, Ellsworth Kelly, Richard Long, Yves Klein, Tim Johnson and Jan Riske: the indigenous artists considered are the Martumili women of Punmu, Joe Japanangka James, Shorty Jangala and Lady Nungurrayi Robinson. My conversation has evolved using newfound elements extending and deepening my painting practice. My research has been enriched by fieldwork experiences ranging from a retrospective of Piet Mondrian’s painting in Den Hague, attending the Women’s Law and Culture Week in the Northern Territory and music performances such as John Luther Adams composition Inuksuit and Morton Feldman’s Patterns in a Chromatic Field. My early readings were very much centred on the writings of anthropologists such as Nancy Munn, Diana James, Christine Watson, Francois Dussart and Yasmine Musharbash as they provided important context to my visits to Yuendumu and my fieldwork at the Women’s Law and Culture Week. In reflecting on my practice I have been influenced and informed by writers such as Terry Smith and his revisiting of contemporaneity and connectivity in the global community; by Yve-Alain Bois’ essay on Mondrian’s painting, The Iconoclast and Maurice Merleau-Ponty regarding phenomenology and perception. Finally, The Grid as a Checkpoint of Modernity by Margarita Tupitsyn helped refine my focus, appearing to encapsulate much of what I had been thinking. I have come to recognise the phenomenological experience as key to all my responses both as observer and as artist. In particular, the aspect of my research focussing on the cultural forms of Central Desert communities, specifically painting and the performance of songs has had an expansive effect on my thinking and studio processes, contributing to a re-invention of my painting as an abstract artist.