Livros de Fotografia em Portugal: Da Revolução ao Presente (original) (raw)
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Industry, Photography, Representations: Portugal, 1897-1914
Revista de Historia Industrial, 2024
In late nineteenth century and in the first two decades of the twentieth century, Portugal witnessed a modest industrial growth. This industrialisation process was recorded by thousands of photographs, many of which were published in the illustrated press. In this article, I analyse how Portuguese industry was represented by photography and how that representation was disseminated nationwide through the publication of photographs in the two most important illustrated magazines of that period: O Occidente and Illustração Portugueza. I rely on a methodology combining semiotics with discourse analysis in journalism. I show that both magazines built an industrial landscape of modernity and progress, which did not coincide with the real condition of Portuguese industry. I add to the discussion advocating photography as an historical source, arguing that it is much more than a mere illustrative support, but a reliable primary source, with a high potential for history in general, and for the fields of business and industrial history in particular, in the sense that photography can provide fresh narratives around technological change.
History y Comunicación Social, 2021
In the second half of the nineteenth century, Portugal undertook in its mainland and colonial territories an ambitious modernising programme based on technoscientific grounds. From the late 1870s onwards, such programme was widely advertised in Occidente, the most important illustrated journal of the time that published several drawings of original photographs. In this paper, I will analyse the imagery based on authentic photography related to technoscientific activities in Portugal and its colonies, using a methodology that combines semiotics with photojournalistic analysis. I claim that Occidente, by publishing drawings of photos, was crucial to create an image of Portugal as a modern, technoscientific, and imperial nation, before the development of halftone printing and photojournalism.
RESUMO: Prints have always served as a medium for the transfer of images and ideas across various borders. They have also been extensively used to facilitate teaching in academies of fine arts and drawing schools, especially when the possibility of drawing after the model was not readily available or access to original works were relatively limited. This paper identifies the sources of several drawings after prints in public and private collections in Portugal (Biblioteca Pública de Évora, Fundação Ricardo do Espírito Santo Silva, Faculdade de Belas Artes da Universidade do Porto), commenting on artists' choices of specific models and the possibilities of the transnational circulation of objects.
This paper intends to focus on a key moment in Latin-American photography historiography: the 1980s. In 1984 the National Foundation of Arts – Funarte, governmental institution, created INFoto, the National Institute of Photography. It was created with the intention of mapping and organising Brazilian photographic profession and production, and it is one of the origins of the national photography historical narrative. Such intention is considered here in association with the country’s political moment, and cannot be dissociated of a similar movement that was taking place in several other Latin American countries. This movement is related to the Colóquios Latino Americanos de Fotografia, held between 1978 and 1984. A desire to organise the photographer’s work considering the realities of the continent is made explicit in the published round tables of the 1981 II Colóquio. The desire to identify a photographic production, and therefore a history of photography, specific to Latin America as opposed to a foreign one was also made explicit. Photographers engaged in public institutions promoted such mapping, which were also a revaluation and a ressignification. These people and institutions from several Latin American countries kept contact promoting initiatives with converging aims relating to organisation and professional training, conservation, publishing, exhibitions, etc. The historic narrative, which started to be composed based on the history of photography in Brazil, was built within its borders as well as part of a Latin American transnational movement.
The Foto-Cine Clube Bandeirante’s Reception of Geraldo de Barros’s 1951 Fotoforma Exhibition
post. notes on art in a global context, 2021
This essay is the second in a series of texts on the Foto Cine Club Bandeirante, a group of amateur photographers whose ambitious and innovative works embodied the abundant originality of postwar Brazilian culture.1 The series coincides with the exhibition Fotoclubismo: Brazilian Modernist Photography, 1946–1964, on view at the Museum of Modern Art from May 8 to September 26, 2021. https://post.moma.org/the-foto-cine-clube-bandeirantes-reception-of-geraldo-de-barross-1951-fotoforma-exhibition/