Arte concreta: racionalismo e abstração como contribuições para o design - um estudo na obra de Geraldo de Barros

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Vida e morte em To the Lighthouse: o conflito dos opostos tramado entre o jogo com o tempo e a intertextualidade

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A construção da imagem em O Espelho in Primeira estórias de João Guimarães Rosa e em Las meninas de Pablo Picasso

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Os retratos do Paraíso: a desconstrução do mito epopéico : uma análise da expedição Langsdorff através do discurso iconográfico de Hercule Florence

Pós-graduação em Geografia - IGCE

Lygia Fagundes Telles e René Magritte: diálogos entre textos e telas

Pós-graduação em Letras - IBILCE

Cartografemas: fragmentos autobiográficos de um artista-professor

Esta pesquisa, de cunho narrativo autobiográfico, aborda a trajetória de vida do artista plástico e professor Jorge Eiró. A pesquisa propõe-se a investigar as articulações entre as atividades desempenhadas e suas implicações em seu processo de formação. Incorpora como referência plástica e conceitual a poética visual de sua obra associada às suas afinidades estéticas e culturais enquanto produção de subjetividade. Neste movimento, a composição da escritura narrativa configura-se em uma cartografia e assume o sentido de função, segundo o conceito de Gilles Deleuze e Félix Guattari, alinhando-se numa perspectiva teórica pós-estruturalista. Nessa concepção, sujeito e objeto da cartografia autobiográfica convertem-se em superjecto. A narrativa transcorre em relatos fragmentados, dispersos mas articulados entre si, elaborados na forma de biografema, segundo o conceito de Roland Barthes. A função da cartografia articulada com a forma do biografema constituem o amálgama narrativo de cartografemas. A escritura é atravessada por referências culturais, musicais (trilha sonora) e literárias (lira literária) da memória afetiva do autor. A problematização consiste no modo como se articulam e se refratam os componentes autobiográficos, enunciados nos biografemas. De metodologia bibliográfica, esta pesquisa apresenta como categorias fundamentais a autobiografia em educação, a arte e a docência em arte. Na composição deste autorretrato, o quadro teórico-metodológico da cartografia é traçado por linhas cardeais de referência dos seguintes autores: Nietzsche, Deleuze e Guattari conceituam a cartografia numa perspectiva pós estruturalista; Barthes concebe a escritura narrativa na forma de biografemas; Larrosa e Rolnik alinham as coordenadas cartográficas para uma autobiografia em educação; Argan e Derdyk desenham o campo da história e filosofia da arte; finalmente, Corazza e Silva colorem a composição com a filosofia da diferença em educação e a poética de uma escrita-artista.

Murilo Mendes: pânico, amor e poesia: uma leitura de A Poesia em Pânico à luz do surrealismo

Esta pesquisa privilegia, a priori, cinco aspectos importantes concernentes à influência do Surrealismo na produção literária de Murilo Mendes, especialmente em A Poesia em Pânico, tais como: a poética da construção por vias da negação; a conciliação de objetos e idéias divergentes que acena para a busca da totalidade; o duplo, indiretamente ligado aos temores da repressão; a mulher e o amor, como confluências necessárias para o estabelecimento do projeto de construção surrealista; e a poesia como espaço da palavra salvadora. Tais aspectos estão em consonância com os estudos propostos por André Breton, Ferdinand Alquié, Chénieux-Gendron, Walter Benjamin e outros. Relacionada à produção de poetas simbolistas e surrealistas, a obra em foco deixa-se ilustrar por alguns trabalhos artísticos do pintor paraense Ismael Nery ¾ com quem Murilo Mendes estabelece grande amizade ¾ e fragmentos de textos de poetas tais como Artur Rimbaud, Charles Baudelaire, Lautréamont, Stéphane Mallarmé, André Breton. Murilo Mendes, para quem as idéias não tem fronteiras, foi um dos autores mais representativos da escrita surrealista no Brasil que, embora notificada aqui em apenas uma de suas obras, constitui traço permanente em toda a sua trajetória poética.

Walter Bacci: desculpas e deslizes diálogo entre artista plástico e cenógrafo

Pós-graduação em Artes - IA

Retratos da Espanha em Os fantasmas de Goya

1792, Madri. After years of inactivity, the Spanish Inquisition is born again with the mission of containing the laic winds that blow from the revolutionary France. Inês Bilbatúa, a rich merchant’s daugther, is victim of the inquisitorial machinery which tortures and violates her, through one of their abetters, the Dominican monk Lorenzo. Before being arrested, the young lady had served as model for the painter Francisco of Goya, who had also portrayed the monk Lorenzo. The Aragonese painter’s figure serves as narrative conductor of a history that narrates the young Inês’ via crucis and, at the same time, it recreates the historical scenery of the Napoleonic invasion (1808), through a basic element, the painting. Our work intends to analyze the relationships among movie, painting and history present in “Goya’s ghosts” (2006), of the Czech director Milos Forman (1932) - whose script was adapted to a homonymous book in 2007 -, a movie that is based on the artistic production of Francisco of Goya y Lucientes (1746 -1828), official painter of Carlos’ IV (1788 -1808) court and the most lucid columnist of his time, that knew how to capture in his works the religious fanaticism, the populist fervour, the governor’s hypocrisy and the horror and the violence of the war.

Estética em revolução

The difficulty lies in dealing with the texts of Almada Negreiros focuses on language, search for expression. Saramago, in his texts of various kinds, "Manual of Painting and Calligraphy" and "The world's largest flower," suffers by seeking representative languages. Which one is less difficult, less traumatic, painting or writing? In conclusion, the two are so much paint as painful to write. Compare them to the knife ripping a sheet of paper. Almada entangled in them all as a poet, novelist, painter, designer, playwright. Through them, we sought from "Before You Begin" to "Getting Started", always be in alpha. The text that follows is entitled Aesthetics in Revolution, it may cover the surrounding poetic Alma.

Sincretismo cultural na joalheria afro-brasileira

Body adornment has been used as a ornament, ritualistic object, religious icon or as symbol demonstration of status and power in many different cultures. In Brazil, own visuality develops from the cultural syncretism. Thus, together with the mode of dress, the african-Brazilian jewelry acquires peculiarities derived from cultural identities that coexist. This paper proposes a look at africanBrazilian jewelry through visual representation in some works of Jean-Baptiste Debret - French painter member of the French Artistic Mission that registered objects and everyday scenes of slaves and freemen, of poor whites and aristocrats of Rio de Janeiro in the early nineteenth century. We are looking for jewelry as a historical record of lifestyles from a time and place with a social, economic and cultural local configuration.

A pintura de Jesuíno do Monte Carmelo em São Paulo e Itu: busca dos referenciais iconográficos e novas considerações

Pós-graduação em Artes - IA 33004013063P4

Surasky Family Papers - Accession 250 - M115 (147)

The Surasky Family Papers consists of correspondence, newspaper clippings, reminiscences, poetry, and other papers mostly photocopies. Of particular interest are a reminiscence by Esther Pinck entitled “Remembrance of Things Past”, concerned with the Jewish experience in Aiken, SC; papers related to Mina Tropp, a painter who developed a unique medium of painting with flora and who is also published poet; and letters of Judge Justine Wise Polier, well known Juvenile Court judge in New York. Collection is almost all photocopies.

Pierre-Auguste Renoir (1841-1919) and rheumatoid arthritis

Pierre-Auguste Renoir (1841-1919), one of the world's most celebrated impressionist painters, suffered from rheumatoid arthritis for most of his life. His symptoms developed when he was in his 50s and they became aggressive at about the age of 60 years that led to almost complete disability when he was 70 years old. Although the deformities he suffered because of the rheumatoid arthritis were disabling, Renoir never stopped painting nor decreased the quality of his work. The transition between styles adopted by the painter (Impressionist, Dry and Pearly periods) bear no relationship to the stages of flare-ups or the establishment of joint deformities due to rheumatoid arthritis. His work shows aspects of the body's ability to overcome pain and physical limitation.

Max Bill in Italia . Lo spazio logico dell'architettura

I Max Bill is an intense giornata of a big fresco. An analysis of the main social, artistic and cultural events throughout the twentieth century is needed in order to trace his career through his masterpieces and architectures. Some of the faces of this hypothetical mural painting are, among others, Le Corbusier, Walter Gropius, Ernesto Nathan Rogers, Kandinskij, Klee, Mondrian, Vatongerloo, Ignazio Silone, while the backcloth is given by artistic avant-gardes, Bauhaus, International Exhibitions, CIAM, war events, reconstruction, Milan Triennali, Venice Biennali, the School of Ulm. Architect, even though more known as painter, sculptor, designer and graphic artist, Max Bill attends the Bauhaus as a student in the years 1927-1929, and from this experience derives the main features of a rational, objective, constructive and non figurative art. His research is devoted to give his art a scientific methodology: each work proceeds from the analysis of a problem to the logical and always verifiable solution of the same problem. By means of composition elements (such as rhythm, seriality, theme and its variation, harmony and dissonance), he faces, with consistent results, themes apparently very distant from each other as the project for the H.f.G. or the design for a font. Mathematics are a constant reference frame as field of certainties, order, objectivity: ‘for Bill mathematics are never confined to a simple function: they represent a climate of spiritual certainties, and also the theme of non attempted in its purest state, objectivity of the sign and of the geometrical place, and at the same time restlessness of the infinity: Limited and Unlimited ’. In almost sixty years of activity, experiencing all artistic fields, Max Bill works, projects, designs, holds conferences and exhibitions in Europe, Asia and Americas, confronting himself with the most influencing personalities of the twentieth century. In such a vast scenery, the need to limit the investigation field combined with the necessity to address and analyse the unpublished and original aspect of Bill’s relations with Italy. The original contribution of the present research regards this particular ‘geographic delimitation’; in particular, beyond the deep cultural exchanges between Bill and a series of Milanese architects, most of all with Rogers, two main projects have been addressed: the realtà nuova at Milan Triennale in 1947, and the Contemporary Art Museum in Florence in 1980. It is important to note that these projects have not been previously investigated, and the former never appears in the sources either. These works, together with the most well-known ones, such as the projects for the VI and IX Triennale, and the Swiss pavilion for the Biennale, add important details to the reference frame of the relations which took place between Zurich and Milan. Most of the occasions for exchanges took part in between the Thirties and the Fifties, years during which Bill underwent a significant period of artistic growth. He meets the Swiss progressive architects and the Paris artists from the Abstraction-Création movement, enters the CIAM, collaborates with Le Corbusier to the third volume of his Complete Works, and in Milan he works and gets confronted with the events related to post-war reconstruction. In these years Bill defines his own working methodology, attaining an artistic maturity in his work. The present research investigates the mentioned time period, despite some necessary exceptions. II The official Max Bill bibliography is naturally wide, including spreading works along with ones more devoted to analytical investigation, mainly written in German and often translated into French and English (Max Bill himself published his works in three languages). Few works have been published in Italian and, excluding the catalogue of the Parma exhibition from 1977, they cannot be considered comprehensive. Many publications are exhibition catalogues, some of which include essays written by Max Bill himself, some others bring Bill’s comments in a educational-pedagogical approach, to accompany the observer towards a full understanding of the composition processes of his art works. Bill also left a great amount of theoretical speculations to encourage a critical reading of his works in the form of books edited or written by him, and essays published in ‘Werk’, magazine of the Swiss Werkbund, and other international reviews, among which Domus and Casabella. These three reviews have been important tools of analysis, since they include tracks of some of Max Bill’s architectural works. The architectural aspect is less investigated than the plastic and pictorial ones in all the main reference manuals on the subject: Benevolo, Tafuri and Dal Co, Frampton, Allenspach consider Max Bill as an artist proceeding in his work from Bauhaus in the Ulm experience . A first filing of his works was published in 2004 in the monographic issue of the Spanish magazine 2G, together with critical essays by Karin Gimmi, Stanislaus von Moos, Arthur Rüegg and Hans Frei, and in ‘Konkrete Architektur?’, again by Hans Frei. Moreover, the monographic essay on the Atelier Haus building by Arthur Rüegg from 1997, and the DPA 17 issue of the Catalonia Polytechnic with contributions of Carlos Martì, Bruno Reichlin and Ton Salvadò, the latter publication concentrating on a few Bill’s themes and architectures. An urge to studying and going in depth in Max Bill’s works was marked in 2008 by the centenary of his birth and by a recent rediscovery of Bill as initiator of the ‘minimalist’ tradition in Swiss architecture. Bill’s heirs are both very active in promoting exhibitions, researching and publishing. Jakob Bill, Max Bill’s son and painter himself, recently published a work on Bill’s experience in Bauhaus, and earlier on he had published an in-depth study on ‘Endless Ribbons’ sculptures. Angela Thomas Schmid, Bill’s wife and art historian, published in end 2008 the first volume of a biography on Max Bill and, together with the film maker Eric Schmid, produced a documentary film which was also presented at the last Locarno Film Festival. Both biography and documentary concentrate on Max Bill’s political involvement, from antifascism and 1968 protest movements to Bill experiences as Zurich Municipality councilman and member of the Swiss Confederation Parliament. In the present research, the bibliography includes also direct sources, such as interviews and original materials in the form of letters correspondence and graphic works together with related essays, kept in the max+binia+jakob bill stiftung archive in Zurich. III The results of the present research are organized into four main chapters, each of them subdivided into four parts. The first chapter concentrates on the research field, reasons, tools and methodologies employed, whereas the second one consists of a short biographical note organized by topics, introducing the subject of the research. The third chapter, which includes unpublished events, traces the historical and cultural frame with particular reference to the relations between Max Bill and the Italian scene, especially Milan and the architects Rogers and Baldessari around the Fifties, searching the themes and the keys for interpretation of Bill’s architectures and investigating the critical debate on the reviews and the plastic survey through sculpture. The fourth and last chapter examines four main architectures chosen on a geographical basis, all devoted to exhibition spaces, investigating Max Bill’s composition process related to the pictorial field. Paintings has surely been easier and faster to investigate and verify than the building field. A doctoral thesis discussed in Lausanne in 1977 investigating Max Bill’s plastic and pictorial works, provided a series of devices which were corrected and adapted for the definition of the interpretation grid for the composition structures of Bill’s main architectures. Four different tools are employed in the investigation of each work: a context analysis related to chapter three results; a specific theoretical essay by Max Bill briefly explaining his main theses, even though not directly linked to the very same work of art considered; the interpretation grid for the composition themes derived from a related pictorial work; the architecture drawing and digital three-dimensional model. The double analysis of the architectural and pictorial fields is functional to underlining the relation among the different elements of the composition process; the two fields, however, cannot be compared and they stay, in Max Bill’s works as in the present research, interdependent though self-sufficient. IV An important aspect of Max Bill production is self-referentiality: talking of Max Bill, also through Max Bill, as a need for coherence instead of a method limitation. Ernesto Nathan Rogers describes Bill as the last humanist, and his horizon is the known world but, as the ‘Concrete Art’ of which he is one of the main representatives, his production justifies itself: Max Bill not only found a method, but he autonomously re-wrote the ‘rules of the game’, derived timeless theoretical principles and verified them through a rich and interdisciplinary artistic production. The most recurrent words in the present research work are synthesis, unity, space and logic. These terms are part of Max Bill’s vocabulary and can be referred to his works. Similarly, graphic settings or analytical schemes in this research text referring to or commenting Bill’s architectural projects were drawn up keeping in mind the concise precision of his architectural design. As for Mies van der Rohe, it has been written that Max Bill took art to ‘zero degree’ reaching in this way a high complexity. His works are a synthesis of art: they conceptually encompass all previous and –considered their developments- most of contemporary pictures. Contents and message are generally explicitly declared in the title or in Bill’s essays on his artistic works and architectural projects: the beneficiary is invited to go through and re-build the process of synthesis generating the shape. In the course of the interview with the Milan artist Getulio Alviani, he tells how he would not write more than a page for an essay on Josef Albers: everything was already evident ‘on the surface’ and any additional sentence would be redundant. Two years after that interview, these pages attempt to decompose and single out the elements and processes connected with some of Max Bill’s works which, for their own origin, already contain all possible explanations and interpretations. The formal reduction in favour of contents maximization is, perhaps, Max Bill’s main lesson.