Entrando por uma porta lateral; Going through a side-entrance (original) (raw)
1995, Catálogo de exposição - FotoGrafia: a experiência alemã nos anos 1950; PhotoGraphy: the german experience in the 50's
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Abstract
Catalog of an exhibition about the relation between photography and drawing taking into account selected images of a portfolio organized by the german photographer Otto Steinert. It was sent to Foto Cine Clube Bandeirante and was shown in The Museum of Modern Art of São Paulo, in 1955, in a exhibition called "Otto Steinert and his pupils". São Paulo: A.S. Studio, 1995.
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The 32nd ANPPOM congress in Brazil, last month, was informative, to say the least. Held in the northeastern coastal city of Natal, with the southern hemisphere's spring well underway, the biotope was more conducive to exploration than the European Autumn I came from. Airconditioning was necessary, of course, even in
DRAWING IN THE PORTUGUESE CINEMA POSTERS
DRAWING IN THE PORTUGUESE CINEMA POSTERS A case study from 1895 to 1960, 2019
Keywords DRAWING IN THE PORTUGUESE CINEMA POSTERS A case study from 1895 to 1960 The research herein found meets its starting point and main reason in the idea of drawing, and the poster as the artifact where it occurs. In this particular case, the reality that places it in the territory of the Portuguese cinema, pushing forward towards the consolidation not only of the theory but also of its history and therefore propose a model capable of its analysis. It assembles the history of drawing/illustration, of the Portuguese cinema and of the poster. And it´s in these overlapping intersections that the movements, protagonists, and works capable of participation in the informed construction of the integral narrative of the theme are revealed.The research led us to pre-select a group of 118 posters where the drawing is the main protagonist, providing a full scope of the theme. From this rose the need to research and create a model capable of delivering a fully detailed analysis of these artifacts and the drawing contained wherein. This made mandatory the reading not only of essential works on the themes but also another group of collateral researches that proved to become essential for our case. From this connection emerged 15 selected posters that represent the time between the birth of mute cinema in Portugal and the year 1960 also known as "cinema moderno". These, aim to represent the total universe of the posters researched for this period, while at the same time they reveal unique details and particularities while exposing the decisions and influences (both national and international) that act upon them. The model proposed, transversal when considering its application in the visual territories and devoted in particular to the drawing/illustration fields, shows through its modularity a proficuous application, allowing it to be used as a tool for other creatives, participating in its visual literacy and raising the knowledge achieved from the observed. Full thesis available at : http://hdl.handle.net/10451/37880
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This exhibition seeks to advance towards a space of continuity. The authors presented are emblematic, are historical, and they contemplate some of the dimensions of plasticity inscribed into the perspective of Looks and Writings. They do not, however, represent an exhaustive survey of all the important names that stand out in the historiography of Portuguese art, which is why there is a pressing need for future events to complement this first showing. The history of Portuguese art in the 20th century may also be constructed by focusing upon the inter-relationship between the image and writing, a persistent and relevant trend that has involved authors of unquestionable talent, and has accompanied the general development of poetry and literature and the performing arts. At the beginning of that century, the most representative and high-profile case in Portugal (though achieving recognition only belatedly) was Amadeo de Souza-Cardoso, who made use of fragments of writing in his compositions, giving them a privileged place in keeping with the languages of synthetic cubism, futurism and Dadaism, which were at that time emerging (definitively). As was the case with other unquenchable artists, the very act of integrating external elements into his painting led to an expansion into new combinations, revealing an overlapping relatedness peopled by words from his private hoard, chosen for their creative and provocative seductiveness.
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In the 1950s, São Paulo passed trough a great vertical growth, driven by the economic prosperity of the period after the Second World War. Inserted into this impulse is a remarkable number of buildings that expressed an idea of modernity and identity. These works joined architects and artists, adapting in a specific way the European concept of synthesis of arts and New Monumentality, brought by some intellectuals , like Le Corbusier and Sigfried Giedion. This presentation aims to introduce, through the study of three murals from the Brazilian artist Cândido Portinari, hypothesis on how some regional topics-linked to the memory and identity of São Paulo and the Latin America-were related to the modern architecture and the debates observed in Europe. The first mural analysed is the one made by Portinari to the Ministry for Health and Education, designed by Lucio Costa in Rio de Janeiro, in 1937. This is an important example, due to its place as a model of the synthesis of art, and its moder-nity, praised in international magazines by the time. The project stablished the first significant connection between the modern architecture and the national identity in Brazil, and the bridge to that was the murals by Portinari. The second mural was made for a Hotel in São Paulo, in 1951. In this work, Portinari represented a very specific chapter of the colonial history of São Paulo, and linked it to the 400th anniversary of the city, that was three years ahead. In 1953, the artist delivered the third mural contemplated in this presentation, to decorate the wall of a mall, designed by Oscar Niemeyer. This project is worthy of attention due to the debates it evoques. The first sketches by the artist and some documentation allow us to know that Portinari designed a mural about colonial explorers, as the one made for the Hotel in 1951, but due to some happenings, Portinari ended up making a geometric abstract mural, a polemic choice to a mural on that time.
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