maria Amado | University of Evora (original) (raw)
Papers by maria Amado
Resumen: El artículo analiza el personaje de doble rostro del fresco Alegoria do Bom Juiz e do Ma... more Resumen: El artículo analiza el personaje de doble rostro del fresco Alegoria do Bom Juiz e do Mau Juiz, contextuali-zándola en la Ciencia Jurídica y en el Arte Judicial renacentista. El fresco adorna la Sala de la Audiencia del An-tiguo Palacio del Ayuntamiento de Monsaraz (pueblo medieval en el sur de Portugal, cerca de la frontera). La singularidad de su iconografía lo hace único en Portugal y raro en el contexto de la pintura renacentista europea. Elegimos el enigmático personaje de doble rostro porque es el elemento fi-gurativo de mayor densidad y comple-jidad simbólica. La simbología moral del "Mau Juiz" está construida por la incorporación casi imperceptible de tres fortísimos modelos. Partiendo de la idea/imagen de la Injusticia de Abstract: This article analises the double faced figure of the fresco of «The Good and Bad Judge», in the context of legal theory and depictions of law in renaissance art. The fresco decorates the audience chamber of the old town hall of...
e-Letras com Vida: Revista de Estudos Globais — Humanidades, Ciências e Artes
The paper aims to examine the transformative role of art and artists, today and in the future. We... more The paper aims to examine the transformative role of art and artists, today and in the future. We have chosen as a starting point the work of a remarkable Portuguese sculptor at the leading edge: Rui Chafes, a challenger of new aesthetic paths. Chafes is a conceptual sculptor of iron and fire who seeks and aspires to abstractionism, as a novel language and a novel vision of the world. The artist thinks his work deeply, regularly publishing texts about his work and its connections with art, beauty and life. From his imaginary artistic biography, Between Heaven and Earth, a bit like Vasari’s The Lives, we will begin by presenting the sculptor’s aesthetic and plastic universe. Then we will consider the way his unique identity path turns out to be inspiring and fulfilling. This imaginary character, born in Germany in the 13th century, absorbed the spiritual medieval gothic shapes and the sense of nature, the sublime and the absolute spirit, peculiar to German Romanticism. From his long ...
El articulo analiza el personaje de doble rostro del fresco Alegoria do Bom Juiz e do Mau Juiz, c... more El articulo analiza el personaje de doble rostro del fresco Alegoria do Bom Juiz e do Mau Juiz, contextualizandola en la Ciencia Juridica y en el Arte Judicial renacentista. El fresco adorna la Sala de la Audiencia del Antiguo Palacio del Ayuntamiento de Monsaraz (pueblo medieval en el sur de Portugal, cerca de la frontera). La singularidad de su iconografia lo hace unico en Portugal y raro en el contexto de la pintura renacentista europea. Elegimos el enigmatico personaje de doble rostro porque es el elemento figurativo de mayor densidad y complejidad simbolica. La simbologia moral del “Mau Juiz” esta construida por la incorporacion casi imperceptible de tres fortisimos modelos. Partiendo de la idea/imagen de la Injusticia de Giotto, el autor del fresco modela la figuracion narrativa del Juez corrupto de Holbein, que, a continuacion, se refuerza con los multiples vicios del Fraude de Dante-Ripa. El Juez injusto es integrado asi en la personificacion del Fraude, que incorpora la gra...
After a hundred years, when we open the eyes of memory with photographs, drawings and paintings o... more After a hundred years, when we open the eyes of memory with photographs, drawings and paintings of the Great War, it is impossible not to feel the horror of war. Beyond recording events and allowing us to remember them, what is the purpose of the art of the period? How can we bring to life a war which became a huge generalized massacre, a mechanical war with tanks, artillery, gas, airplanes and submarines, hidden and without a face, with no clear goals? During the conflict, war not only lost its traditional iconography—the horse, the flag, the soldier, the hero—but even the traditional “language” of painting struggled to express the states of light and movement, of speed and noise, of pieces of flying metal and fragmentation. It is in this context that this article seeks to compare the artistic and iconographic language of João Sousa Lopes and Amadeu Sousa Cardoso. In Sousa Lopes, an official war artist working in the trenches of Flanders, the horror and the absurdity of the unnatur...
Latinoamerica Anuario De Estudios Latinoamericanos, 1994
Personal Narratives, Peripheral Theatres: Essays on the Great War (1914–18), 2017
After a hundred years, when we open the eyes of memory with photographs, drawings and paintings o... more After a hundred years, when we open the eyes of memory with photographs, drawings and paintings of the Great War, it is impossible not to feel the horror of war. Beyond recording events and allowing us to remember them, what is the purpose of the art of the period? How can we bring to life a war which became a huge generalized massacre, a mechanical war with tanks, artillery, gas, airplanes and submarines, hidden and without a face, with no clear goals? During the conflict, war not only lost its traditional iconography-the horse, the flag, the soldier, the hero-but even the traditional "language" of painting struggled to express the states of light and movement, of speed and noise, of pieces of flying metal and fragmentation. It is in this context that this article seeks to compare the artistic and iconographic language of João Sousa Lopes and Amadeu Sousa Cardoso. In Sousa Lopes, an official war artist working in the trenches of Flanders, the horror and the absurdity of the unnatural violence is expressed in a figurative and realistic way. In Amadeu Sousa Cardoso, the language is contemporary and abstract, as well as profoundly original in aesthetic, conceptual and artistic terms. In his war paintings, and above all in the painting titled "Entrada", Amadeu, twenty years before Picasso, shows how war leads to the destruction of life, harmony and the Light. In the perversity of war, electric light, traditionally a symbol of modernity, becomes something unnatural. My sincere thanks to José de Azeredo Perdigão Modern Art Centre-Gulbenkian Foundation, to the Ilídio Pinho Foundation, to Lisbon Military Museum and Municipal Library of Lisbon for their kind permission to reproduce the works of Amadeo Sousa-Cardoso and Adriano Sousa Lopes.
Resumen: El artículo analiza el personaje de doble rostro del fresco Alegoria do Bom Juiz e do Ma... more Resumen: El artículo analiza el personaje de doble rostro del fresco Alegoria do Bom Juiz e do Mau Juiz, contextuali-zándola en la Ciencia Jurídica y en el Arte Judicial renacentista. El fresco adorna la Sala de la Audiencia del An-tiguo Palacio del Ayuntamiento de Monsaraz (pueblo medieval en el sur de Portugal, cerca de la frontera). La singularidad de su iconografía lo hace único en Portugal y raro en el contexto de la pintura renacentista europea. Elegimos el enigmático personaje de doble rostro porque es el elemento fi-gurativo de mayor densidad y comple-jidad simbólica. La simbología moral del "Mau Juiz" está construida por la incorporación casi imperceptible de tres fortísimos modelos. Partiendo de la idea/imagen de la Injusticia de Abstract: This article analises the double faced figure of the fresco of «The Good and Bad Judge», in the context of legal theory and depictions of law in renaissance art. The fresco decorates the audience chamber of the old town hall of...
e-Letras com Vida: Revista de Estudos Globais — Humanidades, Ciências e Artes
The paper aims to examine the transformative role of art and artists, today and in the future. We... more The paper aims to examine the transformative role of art and artists, today and in the future. We have chosen as a starting point the work of a remarkable Portuguese sculptor at the leading edge: Rui Chafes, a challenger of new aesthetic paths. Chafes is a conceptual sculptor of iron and fire who seeks and aspires to abstractionism, as a novel language and a novel vision of the world. The artist thinks his work deeply, regularly publishing texts about his work and its connections with art, beauty and life. From his imaginary artistic biography, Between Heaven and Earth, a bit like Vasari’s The Lives, we will begin by presenting the sculptor’s aesthetic and plastic universe. Then we will consider the way his unique identity path turns out to be inspiring and fulfilling. This imaginary character, born in Germany in the 13th century, absorbed the spiritual medieval gothic shapes and the sense of nature, the sublime and the absolute spirit, peculiar to German Romanticism. From his long ...
El articulo analiza el personaje de doble rostro del fresco Alegoria do Bom Juiz e do Mau Juiz, c... more El articulo analiza el personaje de doble rostro del fresco Alegoria do Bom Juiz e do Mau Juiz, contextualizandola en la Ciencia Juridica y en el Arte Judicial renacentista. El fresco adorna la Sala de la Audiencia del Antiguo Palacio del Ayuntamiento de Monsaraz (pueblo medieval en el sur de Portugal, cerca de la frontera). La singularidad de su iconografia lo hace unico en Portugal y raro en el contexto de la pintura renacentista europea. Elegimos el enigmatico personaje de doble rostro porque es el elemento figurativo de mayor densidad y complejidad simbolica. La simbologia moral del “Mau Juiz” esta construida por la incorporacion casi imperceptible de tres fortisimos modelos. Partiendo de la idea/imagen de la Injusticia de Giotto, el autor del fresco modela la figuracion narrativa del Juez corrupto de Holbein, que, a continuacion, se refuerza con los multiples vicios del Fraude de Dante-Ripa. El Juez injusto es integrado asi en la personificacion del Fraude, que incorpora la gra...
After a hundred years, when we open the eyes of memory with photographs, drawings and paintings o... more After a hundred years, when we open the eyes of memory with photographs, drawings and paintings of the Great War, it is impossible not to feel the horror of war. Beyond recording events and allowing us to remember them, what is the purpose of the art of the period? How can we bring to life a war which became a huge generalized massacre, a mechanical war with tanks, artillery, gas, airplanes and submarines, hidden and without a face, with no clear goals? During the conflict, war not only lost its traditional iconography—the horse, the flag, the soldier, the hero—but even the traditional “language” of painting struggled to express the states of light and movement, of speed and noise, of pieces of flying metal and fragmentation. It is in this context that this article seeks to compare the artistic and iconographic language of João Sousa Lopes and Amadeu Sousa Cardoso. In Sousa Lopes, an official war artist working in the trenches of Flanders, the horror and the absurdity of the unnatur...
Latinoamerica Anuario De Estudios Latinoamericanos, 1994
Personal Narratives, Peripheral Theatres: Essays on the Great War (1914–18), 2017
After a hundred years, when we open the eyes of memory with photographs, drawings and paintings o... more After a hundred years, when we open the eyes of memory with photographs, drawings and paintings of the Great War, it is impossible not to feel the horror of war. Beyond recording events and allowing us to remember them, what is the purpose of the art of the period? How can we bring to life a war which became a huge generalized massacre, a mechanical war with tanks, artillery, gas, airplanes and submarines, hidden and without a face, with no clear goals? During the conflict, war not only lost its traditional iconography-the horse, the flag, the soldier, the hero-but even the traditional "language" of painting struggled to express the states of light and movement, of speed and noise, of pieces of flying metal and fragmentation. It is in this context that this article seeks to compare the artistic and iconographic language of João Sousa Lopes and Amadeu Sousa Cardoso. In Sousa Lopes, an official war artist working in the trenches of Flanders, the horror and the absurdity of the unnatural violence is expressed in a figurative and realistic way. In Amadeu Sousa Cardoso, the language is contemporary and abstract, as well as profoundly original in aesthetic, conceptual and artistic terms. In his war paintings, and above all in the painting titled "Entrada", Amadeu, twenty years before Picasso, shows how war leads to the destruction of life, harmony and the Light. In the perversity of war, electric light, traditionally a symbol of modernity, becomes something unnatural. My sincere thanks to José de Azeredo Perdigão Modern Art Centre-Gulbenkian Foundation, to the Ilídio Pinho Foundation, to Lisbon Military Museum and Municipal Library of Lisbon for their kind permission to reproduce the works of Amadeo Sousa-Cardoso and Adriano Sousa Lopes.