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| Volume III, issue 4 │ October 2008 ISSN 1981-030X |
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. Editorial . The
desire to amplify the references available in 19&20
is one of the most notable in the configuration of the present
edition of October. In contrast to the deliberate restrictions of the
previous number, which was centered at the works and the actions of
artists, in special of painters – an outline, as we insisted to
show, traditionally dear to our historiography of art and not absent
from the present number -, the set of works assembled this time
sketches the contours of a much more diversified nineteenth and
twentieth century visual culture, in which the individualized figure
of the artist has, sometimes, a relatively discreet prominence and
the most diverse artistic manifestations – as the fashion, the
photography or the decorative arts – maintain a role so important
as that which the so-called ‘fine arts’ have. An amplification of
the references is equally perceptible in the space of time
encompassed by the articles of the present edition, lightly larger
than those of the previous editions, going since the period of King
João VI up to the New State, with the affirmation of
tendencies openly linked to the Modernism of the twentieth century.
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The
initiative to make available in translations to foreign languages the
present edition of 19&20 and
some of its articles can be understood as
an analogous desire for amplification, although of diverse sense.
That undertaking has only begun here, but, helped by the flexibility
of the electronic media, we intend to amplify it progressively, even
by making available the translated versions of previous editions and
articles. Our intention is to amplify the visibility of
academic works that deals with Brazilian art to an international
public. We believe that, especially to the foreign researchers that
deal with the art of their countries from the period delimited in our
publication, the Brazilian artistic production will be of interest
for the richness of creative and singular examples of
re-signification of the aesthetic currents, genres and models that
came from other latitudes. It is important to highlight, equally,
that if Brazilian art, in the process of constitution of its own
imaginary and ways-of-doing, has absorbed foreign aesthetic
tendencies, it played, in compensation, an active role in the
legitimization of the latter ones, a non-negligible fact to all those
who are interested in a better understanding of the process of
configuration of the artistic field in other countries where these
tendencies invigorated.
. Camila Dazzi
Arthur Valle Editors .. |