Vida na arte - realismo/naturalismo e modernismo
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Arquivos
Data
2014
Tipo de documento
Tese
Título da Revista
ISSN da Revista
Título de Volume
Área do conhecimento
Linguística, Letras e Artes
Modalidade de acesso
Acesso aberto
Editora
Autores
Espindola, Alexandra Filomena
Orientador
Santos, Antônio Carlos Gonçalves dos
Coorientador
Resumo
Esta pesquisa tem como objetivo compreender como a "vida na arte" do século XIX permanece e/ou descontinua na arte do início do século XX, a partir de duas ferramentas que criamos para podermos ler o realismo/naturalismo e o modernismo. Para cumprirmos esse objetivo primeiro, tivemos de percorrer alguns caminhos, como: fazer um brevíssimo reconhecimento do debate sobre a vida desde Tales de Mileto a Agamben; voltar ao final do século XIX para revisitar, reformular e ampliar nossa noção de vida na arte; rever como a crítica recebeu a arte realista/naturalista; reconhecer os procedimentos artísticos do final do século; colocar o realismo/naturalismo e o modernismo face a face, visto que este escolheu aquele como "inimigo"; questionar o conceito de arte mimética e antimimética; tentar compreender o modernismo pelo seu principal eixo, que é o projeto nacional; perceber como o modernismo se fez e se desfez na voz de um de seus maiores militantes, Mário de Andrade; analisar como os manifestos modernistas construíram suas próprias poéticas; explicitar o conceito de vida na arte que criamos na dissertação; verificar como a vida na arte está atrelada à vida fora da arte; procurar entender a vida pela questão das imagens; observar como o modernismo acaba caindo em suas próprias armadilhas; e ler alguns objetos de arte para que possamos ver mais nitidamente como a vida aparece na arte e se constitui como vida na arte. Defendemos a ideia de que a vida na arte do final do século XIX não somente se diferencia da vida na arte do início do século XX, mas também se estende, num movimento elástico de descontinuidades e permanências, causando, assim, tensões entre o realismo/naturalismo e o modernismo brasileiros. Criamos duas ferramentas importantes para lermos essas vidas na arte, são elas: semelhança de primeiro grau e semelhança de segundo grau. A primeira está intimamente ligada à técnica realista, qual seja: a aproximação com o "real", e ainda, a arte que mostra no objeto aquilo que nossos olhos estão culturalmente condicionados a ver no mundo fora da arte. Já a semelhança de segundo grau não despreza a de primeiro grau, pois parte sempre de uma "realidade" objetiva ou subjetiva, mas se mostra como distância, uma vez que lida mais com uma ideia, um conceito do que com um objeto "puro", "real". Alguns objetos nos ajudaram a ver como essas semelhanças funcionam para pensarmos a vida na arte: Amolação interrompida, A leitora e outras telas, de Almeida Júnior; Remorso e Mater Dolorosa, de Corrêa Lima; Pietá, de Brecheret; Mocidade Morta, de Gonzaga Duque; Amar, verbo intransitivo, de Mário de Andrade; e Lavrador de café, de Candido Portinari
This research aims to understand how the "life in the art" from the nineteenth century remains and / or discontinuous in the art from the early twentieth century, through two tools we have created to be able to read the realism / naturalism and modernism. To accomplish this first aim we had to pass for some ways, such as: make a very brief recognition of the discussion about the life from Thales de Mileto to Agamben, coming back to the end of the century to revisit, reformulate and increase our sense of life in the art; review how the criticism has received the realistic art / naturalist; recognize the artistic procedures from the end of the century; put the realism / naturalism and modernism face to face, because this has chosen that as an "enemy"; questioning the concept of mimetic and anti-mimetic art; try to understand modernism by its principal axis, that is the national project; realize how the modernism has made and has broken in the voice of one of its greatest militants; analyze how the manifestos modernist have built their own poetics; make explicit the concept of life in the art that we have created in the master´s degree; search how the life in the art is linked to life outside the art; trying to understand life by image issues; looking how the modernism is falling into their own traps, and read some art objects to be able to see more clearly how life appears in art and has built itself as life in the art. We have defended the idea that life in the art from the late nineteenth century not only differs from life in the art from the early twentieth century, but also extends an elastic motion discontinuities and continuities, causing tensions between realism / naturalism and modernism by Brazil. We have created two important tools to read these lives in the art, they are: similarity in first grade and similarity in second grade. The first is closely linked to realistic technical, which is: the closer to the "real" - the art that shows in the object something our eyes are culturally conditioned to see the world outside the art. However the similarity of second degree does not despise the similarity of first degree because always comes from an objective or subjective "reality", but it shows as distance, since it deals more with an idea, a concept than a "real" "pure" object. Some objects have helped us to see how these similarities work and help us to think about the life in the art: Amolação interrompida, A leitora and other paintings, by Almeida Júnior; Remorso and Mater Dolorosa, by Corrêa Lima; Pietá, by Brecheret; Mocidade Morta, by Gonzaga Duque; Amar, verbo intransitivo, by Mário de Andrade; and Lavrador de café, by Candido Portinari
This research aims to understand how the "life in the art" from the nineteenth century remains and / or discontinuous in the art from the early twentieth century, through two tools we have created to be able to read the realism / naturalism and modernism. To accomplish this first aim we had to pass for some ways, such as: make a very brief recognition of the discussion about the life from Thales de Mileto to Agamben, coming back to the end of the century to revisit, reformulate and increase our sense of life in the art; review how the criticism has received the realistic art / naturalist; recognize the artistic procedures from the end of the century; put the realism / naturalism and modernism face to face, because this has chosen that as an "enemy"; questioning the concept of mimetic and anti-mimetic art; try to understand modernism by its principal axis, that is the national project; realize how the modernism has made and has broken in the voice of one of its greatest militants; analyze how the manifestos modernist have built their own poetics; make explicit the concept of life in the art that we have created in the master´s degree; search how the life in the art is linked to life outside the art; trying to understand life by image issues; looking how the modernism is falling into their own traps, and read some art objects to be able to see more clearly how life appears in art and has built itself as life in the art. We have defended the idea that life in the art from the late nineteenth century not only differs from life in the art from the early twentieth century, but also extends an elastic motion discontinuities and continuities, causing tensions between realism / naturalism and modernism by Brazil. We have created two important tools to read these lives in the art, they are: similarity in first grade and similarity in second grade. The first is closely linked to realistic technical, which is: the closer to the "real" - the art that shows in the object something our eyes are culturally conditioned to see the world outside the art. However the similarity of second degree does not despise the similarity of first degree because always comes from an objective or subjective "reality", but it shows as distance, since it deals more with an idea, a concept than a "real" "pure" object. Some objects have helped us to see how these similarities work and help us to think about the life in the art: Amolação interrompida, A leitora and other paintings, by Almeida Júnior; Remorso and Mater Dolorosa, by Corrêa Lima; Pietá, by Brecheret; Mocidade Morta, by Gonzaga Duque; Amar, verbo intransitivo, by Mário de Andrade; and Lavrador de café, by Candido Portinari
Palavras-chave
Vida na arte, Modernismo (Arte), Realismo na arte, Naturalismo, Arte