Flores do abismo, imagens do inconsciente [2012]

Presented in a rehearsal form, this article aims to bring out a historical discussion about the relationship between art-madness in Brazil. Result of a research that had as object the critical fortune written on the first exhibit of the Museum of Images of the Unconscious, this work aims to connect two little closer fields: art criticism and mental health, especially since Mário Pedrosa’s work. It was possible to ascertain, throughout the investigation, that there was a position taken by art critics at that time (the 1940s), that position is basically divided into two, briefly explored here: those who encouraged the exhibits, and thereby attested the artistic value of the work produced in the studio of Pedro II Psychiatric Center (where it was founded the Museum); and those who decried the artistic character of "unconscious images", as would be known the works that were produced there. Thus, we can say that, indeed, the virgin art – so entitled by Pedrosa – functioned as a kind of sting to the renewal of our health practices, but mainly influenced the completion of a cycle of modernism in our country.

"Per aurem intrat Christus in Mariam". Aproximación iconográfica a la "conceptio per aurem" en la pintura italiana del Trecento desde fuentes patrísticas y teológicas

La tesis mariológica de la conceptio per aurem, según la cual la Virgen María habría concebido a Jesucristo por el oído en el momento de escuchar del ángel el mensaje celestial anunciándole que, sin perder su virginidad, sería madre del Hijo de Dios encarnado, ha merecido hasta ahora muy pocos estudios académicos rigurosamente fundados en fuentes primarias. De hecho, en la literatura especializada son muy escasas las referencias a tal teoría y, cuando algún estudioso la evoca, casi siempre se contenta con aludir a ella, sin aportar pruebas documentales. Sin embargo, tal como lo revelan las nueve pinturas italianas aquí analizadas, esa teoría fue ilustrada mediante sutiles metáforas visuales en muchas obras pictóricas medievales, las cuales se inspiraron en una sólida tradición literaria. Además una pléyade de Padres de la Iglesia y teólogos medievales testimonia, mediante afirmaciones explícitas, que semejante teoría gozó de notable aceptación entre los maestros del pensamiento cristiano. Basándose en numerosos textos patrísticos y teológicos, este artículo intenta dos objetivos esenciales: exponer, ante todo, las distintas formulaciones teóricas propuestas por esos pensadores; y además, tratar de poner en luz los significados dogmáticos que subyacen bajo esa sorprendente tesis.

Virgin and Child

Limousin artist; 1 ft. 2 11/64 in.x 4 27/32 in.x 4 39/64 in.; copper: formed, repoussé, engraved, chased, scraped, and gilt; hands cast; champlevé enamel, glass carbochons on wood core

Virgin and Child, front left angle view

Metalwork, French, 12C; 1 ft. 2 11/64 in.x 4 27/32 in.x 4 39/64 in.; copper: formed, repoussé, engraved, chased, scraped, and gilt; hands cast; champlevé enamel on wood core

Virgin and Child, rear view

Metalwork, French, 12C; 1 ft. 2 11/64 in.x 4 27/32 in.x 4 39/64 in.; copper: formed, repoussé, engraved, chased, scraped, and gilt; hands cast; champlevé enamel, glass carbochons on wood core

Studies for an Altarpiece with the Virgin Enthroned, Attended by Four Saints (recto)

Polidoro da Caravaggio; 7 61/64 in.x 11 47/64 in.; pen and brown ink, some brush and brown wash

Saint John on Patmos, The Virgin and Child Enthroned, and the Death of the Virgin, left wing of a diptych

Pacino di Bonaguida; 2 ft. 3/8 in. x 1 ft. 3 63/64 in.; tempera and gold leaf on panel

Virgin and Child

Limousin artist; 1 ft. 2 11/64 in.x 4 27/32 in.x 4 39/64 in.; copper: formed, repoussé, engraved, chased, scraped, and gilt; hands cast; champlevé enamel, glass carbochons on wood core

Virgin and Child with Saint Anne

Albrecht Dürer; 1 ft. 11 5/8 in.x 1 ft. 7 39/64 in.; oil on linden

Virgin and Child

Dieric Bouts the Elder; 8 1/2 in.x 6 1/2 in.; oil on wood

Virgin and Child with Four Angels

Gerard David; 2 ft. 7/8 in.x 1 ft. 3 25/64 in.; oil on wood

Virgin and Child with Four Angels

Sassetta (Stefano di Giovanni); 8 1/2 in.x 11 47/64 in.; tempera and gold on wood

Virgin and Child

Anthony van Dyck; 2 ft. 1 15/64 in.x 1 ft. 7 31/64 in.; oil on wood

Virgin and Child with Saint Catherine of Alexandria

Anthony van Dyck; 3 ft. 8 9/64 in.x 3 ft. 1 1/64 in. (with added strips); oil on canvas