Volume III, issue 4 │ october 2008...............................................................ISSN 1981-030X
John Ruskin’s thought in the Brazilian cultural debate from the 1920’s by Maria Lucia Bressan Pinheiro [Portuguese]
One of the greatest exponents of the romanticism critics to the industrial capitalist society, the British John Ruskin is also considered the main theoretician of preservation in England at the nineteenth-century. In the present text, we explored the resonance of his ideas in the Brazilian cultural panorama of the first decades of the twentieth-century, especially among the followers of the Neocolonial.
The Orientalizing Taste in the decorative arts in the epoch of King João VI by Maria João Albuquerque [Portuguese]
Portuguese society of the eighteenth-century was part of a
universalizing cosmos, constituted by a net of very differentiated
political, economic, and social interests, but which converged into
spaces and times that is important here to specify. One of these
converging elements, the interest for the exotic and for the
chinoiseries that characterized the opulence of the courts and the
residences of the sovereigns in the epoch is the subject of the present
Augusto Malta and Marc Ferrez: views on the construction of a metropolis by Ronaldo Entler and Antônio Ribeiro de Oliveira Jr. [Portuguese]
To reinforce the argumentation about the need and the efficiency of the urban reform that marked the Rio de Janeiro in the beginning of the twentieth-century, two great projects of photographic documentation were commissioned: one of them to Augusto Malta, who worked directly for the mayor Pereira Passos, and the other to Marc Ferrez, hired by the Central Avenue Building Committee. Each one of these projects was aimed at distinct and complementary functions, which we will try to analyze here.
The eighteenth and nineteenth century way-of-life seen from the terrace by Helena Câmara Lacé Brandão and Angela Maria Moreira Martins [Portuguese]
The view that one can have from the terrace about the Brazilian society of the nineteenth up to the middle of the twentieth century is that of a society much more open to the social convivium than that of the colonial period or, even, that of the present: in face of the eighteenth and nineteenth century way-of-life, the terrace contradicts its vocation as a filter and as an observation post to become, predominantly, an exhibition post.
Manoel de Araujo Porto-Alegre: Speech delivered at the Academy of Fine Arts in 1855, at the occasion of the institution of the classes of mathematics, aesthetics, etc. transcription and commentary by Paula Ferrari [Portuguese]
Royal Women - Fashion and Ways of Living in the Rio of King João VI by Larissa Sousa de Carvalho [Portuguese]
The text intends to analyze critically the exhibition “Royal Women - Fashion and Ways of Living in the Rio of King João VI”, highlighting its main aspects, related especially to the assemblage and to the content, and how, throughout the fashion, the exhibition showed history to the visitant under a new look, that of the feminine universe.
Between Looks - The romanticist, the naturalist. Voyaging-artists in the Langsdorff Expedition: 1822-1829 by Miguel Luiz Ambrizzi. [Portuguese]
J. M. Rugendas, Hercule Florence and Aimé-Adrien Taunay, artists from the scientific expedition organized by the Baron Langsdorff and heirs of traditional concepts of art theory, worked in Brazil also under other orientations, like the totalizing and interactive view of landscape championed by Alexander von Humboldt, according to which the voyaging-artist’s sensibility and reason should act out under strict collaboration.
The time of Victor Meirelles and the city of Florianopolis by Sandra Makowiecky [Portuguese]
Meirelles, beyond the famous historical paintings, made also formidable
landscapes and panoramas. That side of his production was manifested
very early, still in his hometown city, Desterro, the present
Florianopolis, whose streets and households had occupied his attention
as an artist. And, although he had lived away from Florianopolis
by the impositions of his career, Meirelles seems to have shown the
city indirectly even on some of his great compositions.
A poorly theoretical and much practical art, based in the direct vision of the natural and human environment, had developed widely in Brazil since the years 1930’s. The several groups that emerged then were relevant not only to the trajectory of modern art, but also to the social conquests of the artistic class. Among those groups, one of the most consistent was the Saint Helen, which we will introduce here.
Brazilian Melancholia: The watercolor Black tattooed selling cashew by Debret by Leila Danziger [Portuguese]
In Black tattooed selling cashew (1827), Debret seems to make reference to the engraving Melencolia I, by Dürer. But this mention to the German work is done through the deflation of its allegorical content. Besides that, the thickened space of Dürer’s engraving gives place, in the work of Debret, to a space marked by the signs of deflation and of distance and by a sad sensuality, present on the exposed body of the Afro-Brazilian descendant and in the artifacts that are placed around her.
Faith and Modernity: Architecture and Art in a Church in São Paulo by Flávia Rudge Ramos [Portuguese]
Faith and modernity could seem contradictory. However, at the end of the decade of 1930, a group of artists of Italian descent - the architect Leopoldo Pettini, the painter Fulvio Pennacchi and the sculptor Galileo Emendabili - overcame the prejudices and conciliated tradition and innovation to create in São Paulo the Church of Our Lady of Peace.
Fancy Ball, by Rodolpho Chambelland: The figuration of frenzy by Arthur Valle [Portuguese]
Fancy Ball, painted by Rodolpho Chambelland to figurate in the ‘Salon’ of 1913, is one of the highest points in the dialogue with the universe of Carnival conducted by the artists of Rio de Janeiro. However, the value of the work much transcends the mere iconography: it incorporates the conceptions of artistic expression that were being claimed in Europe since the second half of the nineteenth-century and points towards a pictorial practice full of autonomy.