Volume IV, issue 1January 2009                                          ISSN 1981-030X



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In its first number of 2009, 19&20 brings back the Art Critic section. This time, however, the articles are not focused to the acting of professional writers, but, instead, they throw light on the significative facet of the acting of our nineteenth and twentieth century artists as theoreticians and/or Art critics. That is what is revealed by the text of Valéria Salgueiro on the little discussed acting of Antonio Parreiras as a critic, as well as the article by Paula Ferrari that broaches fundamental aesthetic ideas contained in the writings of the multifarious Manoel de Araújo Porto-alegre.

The articles of the Works section open room to paths of study still little approached in our Historiography of Art. If in the latter the cultural production of the nineteenth century is almost identified with a vision of Art affirmed in the Illuminism and linked to the secular genres and themes, as well as to the acting of artists bond to academic postulates, the work of Nancy Rabello shows, in contrapuntal fashion, the relevance of a set of nineteenth century religious images, endowed with expressive particularities that differentiate them from those produced in the Brazilian colonial period. Now the text by Madalena Zaccara and Darlene Araújo, by broaching the Homeland Altar, a central monument in the urban landscape of the Paraíba Capital, João Pessoa, discuss aspects of the Public Art produced beyond the Rio-São Paulo axis.

The works of Architecture and Decorative Arts deepen the discussions about the Brazil-USA relations, be in the field of the affirmation of notions of Progress and Modernity, made salient by Jorge Nassar Fleury in his analysis of the Brazilian participation in the Chicago Exhibition, in 1893, be in the field of the artistic and cultural exchanges, evidenced in the article of Fernando Atique on the trajectory of the architect George Henry Krug, graduated in University of Pennsylvania.

In the Artistic Teaching section, Alba Carneiro Bielinski presents a panorama of the history of the Arts and Crafts Lyceum, an institution that, since the middle of the nineteenth century, played a very important role in the formation of professionals linked to the Applied Arts and which we will come to call attention again in the next issues of 19&20. Now Reginaldo da Rocha Leite presents new results from his researches on the pedagogy of the Imperial Academy of Fine Arts, highlighting, this turn, the fundamental importance that the knowledge of the distinct European Artistic Schools had to the Brazilian academic teaching.

In the Artists section, Mabeli dos Santos Fernandes and André Toral deal with aspects of the production of two painters that, despite their differences, kept a bond, during their artistic pathways, to the Idealism: Nicolao Facchinetti, with his reframing of Brazilian landscape in his preciosity paintings, and Victor Meirelles, with his critical reflections about the photographic ‘Realism’. Finally, the transcription of the Ministerial Reports about the Academy of Fine Arts, initiated in the present number by Arthur Valle and Camila Dazzi, gives continuity to the intentions of the Primary Sources section, widening the considerable documental corpus made available here, which seeks to lay more reliable bases to the future studies of the nineteenth and twentieth century Brazilian Art.

                                                                                                                               Arthur Valle                                                                                                                               Camila Dazzi