Movimento desvairado

Escolhemos a poesia de Mario de Andrade "Paulicéia Desvairada", que mais tarde virou samba-enredo da escola de samba Estácio Sá, visualizamos nesta obra toda o musica brasileira, desde clássicos até as musicas populares e junto com a evolução de generos musicas, evoluiu também a forma de se armazenar as músicas, que antes era por discos de vinil e atualmente se armazena músicas através dos CDs

Veja abaixo a letra do Samba-enredo (a letra é a mesma da poesia):

Eu vi (ai meu Deus eu vi)O arco-íris clarearO céu da minha fantasiaNo brilho da Estácio a desfilarA brisa espalha no arUm buquê de poesiaNa Paulicéia desvairada lá vou euFazer poemas, e cantar minha emoçãoQuero a arte pro meu povoSer feliz de novoE flutuar nas asas da ilusãoMe dê, me dá, me dá, me dêOnde você for eu vou com vocêLá vem o trem do caipiraPrum dia novo encontrarPela terra, corta o marNa passarela a girarMúsicos, atores, escultoresPintores, poetas e compositoresExpoentes de um grande paísMostraram ao mundo o perfil do brasileiroMalandro, bonito, sagaz e maneiroQue canta e dança, pinta e borda e é felizE assim transformaram os conceitos sociaisE resgataram pra nossa culturaA beleza do folcloreE a riqueza do barroco nacionalModernismo movimento culturalNo país da TropicáliaTudo acaba em carnaval...


nomes: Bruno n, 11
Rafael Barão n, 27
Thais Silva n, 41
Thais Selini n, 42
Viviane Alves n, 44

Modernismo

O modernismo no Brasil

O modernismo se início em 1922,tendo como marco inicial a Semana de Arte Moderna.
Esse movimento tinha como intuito principal resgatar a e reavivar a cultura e as tradições nacionais.
Engajados nessa causa, muitos escritores, pintores, escultores, músicos, entre outros usaram toda a sua ousadia e agressividade em suas obras.
Inicialmente a semana de arte moderna não teve a repercussão esperada, todavia anos mais tarde esse movimento foi e, ainda é reconhecido como um dos movimentos mais significativos à nossa cultura e ao resgate de nossa identidade perdida em meio a tantas influencias externas.
Devida a apresentação diversificada de algumas características, o modernismo foi dividido em fases, que são elas:

Primeira Geração (1922-1930)
Caracteriza-se por ser uma tentativa de definir e marcar posições. Período rico em manifestos e revistas de vida efêmera.
Um mês depois da SAM, a política vive dois momentos importantes: eleições para Presidência da República e congresso (RJ) para fundação do Partido Comunista do Brasil. Ainda no campo da política, surge em 1926 o Partido Democrático que teve entre seus fundadores Mário de Andrade.
É a fase mais radical justamente em conseqüência da necessidade de definições e do rompimento de todas as estruturas do passado. Caráter anárquico e forte sentido destruidor.
Principais autores desta fase: Mário de Andrade, Oswald de Andrade, Manuel Bandeira, Antônio de Alcântara Machado, Menotti del Picchia, Cassiano Ricardo, Guilherme de Almeida e Plínio Salgado.

Características
- Busca do moderno, original e polêmico.
- Nacionalismo em suas múltiplas facetas.
- Volta às origens e valorização do índio verdadeiramente brasileiro.
- “Língua brasileira” - falada pelo povo nas ruas.
- Paródias - tentativa de repensar a história e a literatura brasileiras.
A postura nacionalista apresenta-se em duas vertentes:
- nacionalismo crítico, consciente, de denúncia da realidade, identificado politicamente com as esquerdas.
- nacionalismo ufanista, utópico, exagerado, identificado com as correntes de extrema direita.

Manifesto da Poesia Pau-Brasil (1924-1925)
Escrito por Oswald e publicado inicialmente no Correio da Manhã. Em 1925, é publicado como abertura do livro de poesias Pau-Brasil de Oswald. Apresenta uma proposta de literatura vinculada à realidade brasileira, a partir de uma redescoberta do Brasil.

Verde-Amarelismo (1926-1929)
É uma resposta ao nacionalismo do Pau-Brasil. Grupo formado por Plínio Salgado, Menotti del Picchia, Guilherme de Almeida e Cassiano Ricardo. Criticavam o “nacionalismo afrancesado” de Oswald. Sua proposta era de um nacionalismo primitivista, ufanista, identificado com o fascismo, evoluindo para o Integralismo de Plínio Salgado (década de 30). Idolatria do tupi e a anta é eleita símbolo nacional. Em maio de 1929, o grupo verde-amarelista publica o manifesto “Nhengaçu Verde-Amarelo — Manifesto do Verde-Amarelismo ou da Escola da Anta”.

Manifesto Regionalista de 1926
1925 e 1930 é um período marcado pela difusão do Modernismo pelos estados brasileiros. Nesse sentido, o Centro Regionalista do Nordeste (Recife) busca desenvolver o sentimento de unidade do Nordeste nos novos moldes modernistas. Propõem trabalhar em favor dos interesses da região, além de promover conferências, exposições de arte, congressos etc. Para tanto, editaram uma revista. Vale ressaltar que o regionalismo nordestino conta com Graciliano Ramos, José Lins do Rego, José Américo de Almeida, Rachel de Queiroz, Jorge Amado e João Cabral - na 2ª fase modernista.

Revista Antropofagia (1928-1929)
Contou com duas fases (dentições): a primeira com 10 números (1928 e 1929) direção Antônio Alcântara Machado e gerência de Raul Bopp; a segunda foi publicada semanalmente em 16 números no jornal Diário de São Paulo (1929) e seu “açougueiro” (secretário) era Geraldo Ferraz. É uma nova etapa do nacionalismo Pau-Brasil e resposta ao grupo Verde-amarelismo. A origem do nome movimento está na tela “Abaporu” (O que come) de Tarsila do Amaral.
1ª fase - inicia-se com o polêmico manifesto de Oswald e conta com Alcântara Machado, Mário de Andrade (2º número publicou um capítulo de Macunaíma), Carlos Drummond (3º número publicou a poesia “No meio do caminho”); além de desenhos de Tarsila, artigos em favor da língua tupi de Plínio Salgado e poesias de Guilherme de Almeida.
2ª fase - mais definida ideologicamente, com ruptura de Oswald e Mário de Andrade. Estão nessa segunda fase Oswald, Bopp, Geraldo Ferraz, Oswaldo Costa, Tarsila, Patrícia Galvão (Pagu). Os alvos das críticas (mordidas) são Mário de Andrade, Alcântara Machado, Graça Aranha, Guilherme de Almeida, Menotti del Picchia e Plínio Salgado.

Alguns Autores
Antônio de Alcântara Machado (1901-1935)
Cassiano Ricardo (1895-1974)
Guilherme de Almeida (1890-1969)
Manuel Bandeira (1886-1968)
Mário de Andrade (1893-1945)
Oswald de Andrade (1890-1953)
Plínio Salgado (1895-1975)
Raul Bopp (1898-1984)
Ronald de Carvalho (1893-1935)

Segunda Geração (1930-1945)
Estende-se de 1930 a 1945, sendo um período rico na produção poética e também na prosa. O universo temático se amplia e os artistas passam a preocupar-se mais com o destino dos homens, o estar-no-mundo.
“A segunda fase colheu os resultados da precedente, substituindo o caráter destruidor pela intenção construtiva, “pela recomposição de valores e configuração da nova ordem estética”. --Cassiano Ricardo
Durante algum certo tempo, a poesia das gerações de 22 e 30 conviveram. Não se trata, portanto, de uma sucessão brusca. A maioria dos poetas de 30 absorveria parte da experiência de 22: liberdade temática, gosto da expressão atualizada ou inventiva, verso livre, anti-academicismo.
A poesia prossegue a tarefa de purificação de meios e formas iniciada antes, ampliando a temática na direção da inquietação filosófica e religiosa, com Vinícius de Moraes, Jorge de Lima, Augusto Frederico Schmidt, Murilo Mendes, Carlos Drummond de Andrade, ao tempo em que a prosa alargava a sua área de interesse para incluir preocupações novas de ordem política, social e econômica, humana e espiritual. À piada sucedeu a gravidade de espírito, a seriedade da alma, propósitos e meios. Uma geração grave, preocupada com o destino do homem e com as dores do mundo, pelos quais se considerava responsável, deu à época uma atividade excepcional.
O humor quase piadístico de Drummond receberia influências de Mário e Oswald de Andrade. Vinícius, Cecília, Jorge de Lima e Murilo Mendes apresentam certo espiritualismo que vinha do livro de Mário "Há uma gota de Sangue em cada Poema" (1917).
A geração de 30 não precisou ser combativa como a de 22. Eles já encontraram uma linguagem poética modernista estruturada. Passaram então a aprimorá-la e extrair dela novas variações, numa maior estabilidade.
O Modernismo já estava dinamicamente incorporado às praticas literárias brasileiras, sendo assim os modernistas de 30 estão mais voltados ao drama do mundo e ao desconcerto do capitalismo.

Prosa
Romances caracterizados pela denúncia social, verdadeiro documento da realidade brasileira, atingindo elevado grau de tensão nas relações do eu com o mundo. Uma das principais características do romance brasileiro é o encontro do escritor com seu povo. Há uma busca do homem brasileiro nas diversas regiões, por isso o regionalismo ganha importância, com destaque às relações do personagem com o meio natural e social.
Os escritores nordestinos merecem destaque especial, por sua denúncia da realidade da região pouco conhecida nos grandes centros. O 1° romance nordestino foi "A Bagaceira" de José Américo de Almeida. Esses romances retratam o surgimento da realidade capitalista, a exploração das pessoas, movimentos migratórios, miséria, fome, seca etc.

Alguns Autores
Carlos Drummond de Andrade (1902-1987)
Cecília Meireles (1901-1964)
Érico Veríssimo (1905-1975)
Graciliano Ramos (1892-1953)
Jorge Amado (1912-2001)
José Lins do Rego (1901-1957)
Murilo Mendes (1901-1975)
Vinícius de Moraes (1913-1980)

Terceira Geração (1945-1978)
A literatura brasileira, assim como o cenário sócio-político, passa por transformações.
A prosa tanto no romance quanto nos contos busca uma literatura intimista, de sondagem psicológica, introspectiva, com destaque para Clarice Lispector. Ao mesmo tempo, o regionalismo adquire uma nova dimensão com Guimarães Rosa e sua recriação dos costumes e da fala sertaneja, penetrando fundo na psicologia do jagunço do Brasil central. Um traço característico comum a Clarice e Guimarães Rosa é a pesquisa da linguagem, por isso são chamados instrumentalistas. Enquanto Guimarães Rosa preocupa-se com a manutenção do enredo com o suspense, Clarice abandona quase que completamente a noção de trama e detém-se no registro de incidentes do cotidiano ou no mergulho para dentro dos personagens.
Na poesia, surge uma geração de poetas que se opõem às conquistas e inovações dos modernistas de 22. A nova proposta foi defendida, inicialmente, pela revista Orfeu (1947). Assim, negando a liberdade formal, as ironias, as sátiras e outras “brincadeiras” modernistas, os poetas de 45 buscam uma poesia mais “equilibrada e séria”. Os modelos voltam a ser os Parnasianos e Simbolistas. Principais autores (Ledo Ivo, Péricles Eugênio da Silva Ramos, Geir de Campos e Darcy Damasceno). No fim dos anos 40, surge um poeta singular, pois não está filiado esteticamente a nenhuma tendência: João Cabral de Melo Neto.

Alguns Autores
Clarice Lispector (1920-1977)
Domingos Carvalho da Silva
Ferreira Gullar (1930- )
João Cabral de Melo Neto (1920-1999)
João Guimarães Rosa (1908-1967)
Ledo Ivo (1924- )

Proposta e inspiração do Abajur

Para realizarmos o projeto do abajur, que foi um modo de resgatar um pouco da importância e influencia modernista , buscamos inspiração nas idealizações dos grandes nomes da época.Um desses nomes foi Tarsila do Amaral, que lutou com toda a bravura e determinação por esse movimento.O nosso abajur se chama Mosaico modernista e nele temos imagens das maiores obras modernistas sobre um abajur simples, preto , deixando somente a luz do modernismo transparecer pelas imagens.Esse era o intuito dos modernistas, a partir de suas idéias conscientizar e emanar a luz da inovação, tendo como base de criação as raízes da cultura nacional.

Aline Bastos 03, Dayani Alves 17, Mariana Acuno 23, Rafaela Silva 29 e Talita Vasconcelos 38.

Edvard Munch

Biography

Edvard Munch was born in Ådalsbruk/Løten, Norway, and grew up in Kristiania (now Oslo). He was related to painter Jacob Munch (1776–1839) and historian Peter Andreas Munch (1810–1863). He lost his mother, Laura Cathrine Munch, née Bjølstad, to tuberculosis in 1868, and his older and favorite sister Sophie (Johanne Sophie b. 1862) to the same disease in 1877. Ultimately his father, Christian Munch, died young, as well, in 1889. Munch also had a brother, (Peter) Andreas (b. 1865) and two younger sisters (Laura Cathrine b. 1867, Inger Marie b. 1868). After their mother's death, the Munch siblings were raised by their father, who instilled in his children a deep-rooted fear by repeatedly telling them that if they sinned in any way, they would be doomed to hell without chance of pardon. One of Munch's younger sisters was diagnosed with mental illness at an early age. Munch himself was also often ill. Of the five siblings only Andreas married, but he died a few months after the wedding. He would later say, "Sickness, insanity and death were the angels that surrounded my cradle and they have followed me throughout my life."


Studies and influences
In 1879, Munch enrolled in a technical college to study engineering, but frequent illnesses interrupted his studies. In 1880, he left the college to become a painter. In 1881, he enrolled at the Royal School of Art and Design of Kristiania. His teachers were sculptor Julius Middelthun and naturalistic painter Christian Krohg.

While stylistically influenced by the postimpressionists, Munch's subject matter is symbolist in content, depicting a state of mind rather than an external reality. Munch maintained that the impressionist idiom did not suit his art. Interested in portraying not a random slice of reality, but situations brimming with emotional content and expressive energy, Munch carefully calculated his compositions to create a tense atmosphere.


Maturity
Munch's means of expression evolved throughout his life. In the 1880s, his idiom was both naturalistic, as seen in Portrait of Hans Jæger, and impressionistic, as in (Rue Lafayette). In 1892, Munch formulated his characteristic, and original, Synthetist aesthetic, as seen in Melancholy, in which colour is the symbol-laden element. Painted in 1893, The Scream is his most famous work.[2]

During the 1890s, Munch favoured a shallow pictorial space, a minimal backdrop for his frontal figures. Since poses were chosen to produce the most convincing images of states of mind and psychological conditions (Ashes), the figures impart a monumental, static quality. Munch's figures appear to play roles on a theatre stage (Death in the Sick-Room), whose pantomime of fixed postures signify various emotions; since each character embodies a single psychological dimension, as in The Scream, Munch's men and women appear more symbolic than realistic.

In 1892, the Union of Berlin Artists invited Munch to exhibit at its November exhibition. His paintings evoked bitter controversy, and after one week the exhibition closed. In Berlin, Munch involved himself in an international circle of writers, artists and critics, including the Swedish dramatist August Strindberg.

While in Berlin at the turn of the century, Munch experimented with a variety of new media (photography, lithography, and woodcuts), in many instances re-working his older imagery.

One of his great supporters in Berlin was Walter Rathenau, later the German foreign minister, who greatly contributed to his success.

In the autumn of 1908, Munch's anxiety became acute and he entered the clinic of Dr. Daniel Jacobson. The therapy (including electric shock therapy) Munch received in hospital changed his personality, and after returning to Norway in 1909 he showed more interest in nature subjects, and his work became more colourful and less pessimistic.


Later life
In the 1930s and 1940s, the Nazis labeled his work "degenerate art", and removed his work from German museums. This deeply hurt Munch, who had come to feel Germany was his second homeland.

Munch built himself a studio and simple house at Ekly estate, at Skøyen, Oslo, and spent the last decades of his life there.[3] He died there on January 23, 1944, about a month after his 80th birthday.

"From my rotting body, flowers shall grow and I am in them and that is eternity."
—Edvard Munch

Legacy
When Munch died he left 1,008 paintings, 15,391 prints, 4,443 drawings and watercolors, and six sculptures to the city of Oslo which built the Munch Museum at Tøyen.[citation needed] The museum houses the broadest collection of his works in the world. His works are also represented in major museums and galleries in Norway and abroad. After the Cultural Revolution in the People's Republic of China ended, Munch was the first Western artist to have his pictures exhibited at the National Gallery in Beijing.

One version of The Scream was stolen in 1994, another in 2004. Both have since been recovered, but one version sustained damage during the theft which was too extensive to repair completely.

In October 2006, the colour woodcut Two people. The lonely (To mennesker. De ensomme) set a new record for his prints when it was sold at an auction in Oslo for 8.1 million NOK (1.27 million USD). It also set a new record for the highest price paid in auction in Norway. [1]

Munch appears on the Norwegian 1,000 Kroner note along with pictures inspired by his artwork. [2]


Frieze of Life — A Poem about Life, Love and Death

MadonnaIn December 1893, Unter den Linden in Berlin held an exhibition of Munch's work, showing, among other pieces, six paintings entitled Study for a Series: Love. This began a cycle he later called the Frieze of Life — A Poem about Life, Love and Death. Frieze of Life motifs such as The Storm and Moonlight are steeped in atmosphere. Other motifs illuminate the nocturnal side of love, such as Rose and Amelie and Vampire. In Death in the Sickroom (1893), the subject is the death of his sister Sophie. The dramatic focus of the painting, portraying his entire family, is dispersed in a series of separate and disconnected figures of sorrow. In 1894, he enlarged the spectrum of motifs by adding Anxiety, Ashes, Madonna and Women in Three Stages.

Around the turn of the century, Munch worked to finish the Frieze. He painted a number of pictures, several of them in larger format and to some extent featuring the Art Nouveau aesthetics of the time. He made a wooden frame with carved reliefs for the large painting Metabolism (1898), initially called Adam and Eve. This work reveals Munch's preoccupation with the "fall of man" myth and his pessimistic philosophy of love. Motifs such as The Empty Cross and Golgotha (both c. 1900) reflect a metaphysical orientation, and also echo Munch's pietistic upbringing. The entire Frieze showed for the first time at the secessionist exhibition in Berlin in 1902.


List of major works
1892 - Evening on Karl Johan
1893 - The Scream
1894 - Ashes
1894-95 - Madonna
1895 - Puberty
1895 - Self-Portrait with Burning Cigarette
1895 - Death in the Sickroom
1899-1900 - The Dance of Life
1899-1900 - The Dead Mother
1940-42 - Self Portrait: Between Clock and Bed


http://en.wikipedia.org/wiki/Edvard_Munch

Van Gogh

Name: Vincent Willem Van Gogh

Born: Groot-Zundert, Brabant,Netherlands - 30 March, 1853

Died: Auvers-sur-Oise, France - 27 July, 1890

Biography

On March 30, 1853 Anna Cornelia Carbentus gave birth to a boy in Groot-Zundert, Netherlands. Unbeknownst to her or the father, Reverend Theodorus Van Gogh of the protestant church, this boy would be tormented by severe mental instability for the majority of his life, die from his own hands, and ultimately change the outlook on art for the rest of history. His life was to become one of uncertainty and madness, involving largely his own need to find a niche and the undeniable love for art. This man was Vincent Van Gogh.

Vincent's family consisted of his three sisters Elisabeth, Anna, Wil, two brothers Theo and Cor, and his mother and father. His earliest years were spent as a quiet child with little or no attention spent on art or artistic qualities. Other specifics about Van Gogh's childhood are not known.

In 1870, after completing a sketchy array of education, Van Gogh was employed by the Hague gallery, run by French art dealers Goupil et Cie, at the age of 16. Later in 1873, Goupil transferred Vincent to London then again to Paris by 1875. After this relocation, Gogh lost all desire to become a professional art dealer; instead following in his father's foot steps and devoting his life to the evangelization of the poor seemed more logical. Despite his erratic behavior his parents agreed to pay for his education. Gogh soon abandoned his lessons and began a ministry with the miners of Borinage. During this time he was able to identify with the miners, their lifestyles, and their families. This interaction between Gogh and the worker class is later shown in his works as he becomes fascinated with depicting peasant life.

After working with the miners for a period of time, Vincent's own urge to leave something of importance behind for mankind along with his brother Theo's consistent pressure, he became an artist. Without any proper training, or even having open artistic talent, Gogh doubted his abilities, and was supported in this doubt by his parents. However, Theo continued to push Vincent forward and supported him financially. The outcome would be the creation of a master of art, who evolved from his doubtful shell into a brilliant but besieged mind very rapidly.

In 1881, at the age of 27, Vincent moved back in with his parents after completing nine months of further education in Brussels. At home Vincent set to work on teaching himself how to draw. He tested various different techniques and styles along with experimenting with different subject matters. Other areas he worked on mastering were perspective, shading, and anatomy. Many of his earliest pieces were of peasant life, which could be attributed to his work with the miners of Borinage. Vincent soon became passionate about becoming an acclaimed drawer of figures, and continued to practice his newly developed skills. By the end of 1881, Vincent had moved from his parent's house and was acquiring lessons from Anton Mauve, his cousin by way of marriage. Vincent also began a relationship with Sien Hoomik, a pregnant prostitute whom had had one child out of wedlock already. Vincent was deeply shunned by Mauve for this relationship thus causing the two to fall out of friendship. However, Vincent continued to master the skills of drawing and used Hoomik as a model whenever possible.

Vincent soon became irritable and made the choice to break off his relationship with Hoomik and move once again to follow artists like Van Rappard and Mauve to Drenthe.

Vincent soon found a lack of inspiration and models and moved back in with his parents to continue practice. Here Vincent was first introduced to the paintings of Jean-Franqois Millet, a French artist, who had become quite famous across Europe for his renditions of peasant life. Van Gogh began painting and he forcibly modeled his style after Millet. By the age of 29, Vincent had moved from his parents' house and worked in a make-shift studio located in a room he rented from a Catholic church.

From the beginning of Van Gogh's artistic career he had the ambition to draw and paint figures, in 1884 he began working on mastering weathered hands, heads and other anatomical features of peasants. He was planning on creating a multiple figure piece that would make his name respected in the artistic community. The piece he created was entitled The Potato Eaters and was completed in 1885. This piece proved to be success, but not in his lifetime.

After the personal failure of The Potato Eaters, Vincent decided he needed some professional training in art techniques. He enrolled later that year in an academy in Antwerp where he discovered the art of Peter Paul Rubens, and various Japanese artists. Both of these factors would greatly affect Van Gogh's style in art. By early 1886, he had moved to Paris to live with his brother Theo. Here Vincent was immersed in a centrifuge of modern art from the impressionist and post impressionists. Van Gogh quickly dropped the dark colors he had used to create The Potato Eaters after discovering the palette to be horrendously out of date. He adopted the brighter more vibrant colors with ease and began experimenting with the techniques he saw in the art of the impressionist and post impressionists. He soon began to research the styles found in the Japanese artwork he had discovered a year earlier.

While in Paris, Vincent was acquainted with various other artists including: Paul Gauguin, Camille Pissarro, Claude Monet, and Emile Bernard. Vincent befriended Paul Gauguin and moved to Arles in 1888 hoping that his new friends would join him to create a school of art. Vincent was confident in his new and highly personal style and felt that he could attribute it to modern art with his outlandish new color combinations.

Later Paul Gauguin did join Van Gogh in Arles. Vincent began painting sunflowers to decorate Gauguin's bedroom. These sunflowers would later become one of Vincent's signature pieces. Although something much greater was brewing in Vincent's head, that he couldn't control. Towards the end of 1888, the first signs of Van Gogh's mental illness began to take hold. He suffered from various types of epilepsy, psychotic attacks, and delusions. One such episode entailed Vincent pursuing Gauguin with a knife and threatening him intensely. Later that day, Vincent returned to their house and mutilated his ear, then offered it to a prostitute as a gift. Vincent was temporarily hospitalized and released to find Gauguin swiftly leaving Arles and his dream of an artistic community shattered.

As the year of 1888 came to an end, Vincent traveled to Saint-Rémy-de-Provence where he committed himself to an asylum. Here his paintings became a torrent of activity. Although he could not draw and paint for long periods of time without suffering from an attack, he managed to create The Starry Night which resides as his most popular work and one of the most influence pieces in history. The swirling lines of the sky are a possible representation of his mental state. This same shaken style is visible in all of his work during his time in the asylum.

Vincent left Saint-Rémy-de-Provence in 1890 and began contacting his brother Theo. Van Gogh continued working and created a number of pieces; nearly one painting day. Vincent viewed his life as horribly wasted, personally failed and impossible. On July 27, 1890 Van Gogh attempted suicide by shooting himself in the chest. He survived, but died two days later from the wound.

Theo, who had collected the majority of Vincent's work from Paris, died only six months later. His widow took the collection to Netherlands and dedicated herself to getting the now deceased Vincent the recognition he deserved. She published his work and Vincent became famous nearly instantly. His reputation has been growing since.

The story of Vincent Van Gogh's tragic life, filled with mental evils and artistic triumphs , lingers almost becoming that of legend. His work is still astounding millions around the world daily, and though he sold only one painting in his life, his influence on the outcome of art has been amazing and overwhelming. His paintings have reached new records when sold for hundreds of millions of dollars, and his persona has sparked number one hit songs. Vincent Van Gogh has altered mankind forever... and he believed his life was a terrible failure!

Visible Influences

Impressionism, Japanese prints, Jean-Francoise Millet.

Movements & Styles

Post-Impressionism

Van Gogh's style was very expressive and later influenced many Expressionist artists. Vincent's Life story is just as famous as his art. He produced landscapes, portraits, interiors, still lifes and cityscapes. Still lifes included everyday objects ; shoes, potatoes, a chair, books, etc.
Famous Van Gogh Paintings:

The Potatoe Eaters - 1885

Sunflowers - 1888

The Night Café - 1888

Van Gogh's Chair - 1888

The Starry Night - 1889

Self-Portrait - 1889

Source: http://www.vangoghgallery.com/

Aline Bastos 03, Dayani Alves 17, Mariana Acuno 23, Rafaela Silva 29 e Talita Vasconcelos 38.

Emiliano Augusto Cavalcanti de Albuquerque Melo

Emiliano Augusto Cavalcanti de Albuquerque Melo, (September 6, 1897–October 26, 1976), known as Di Cavalcanti, was a Brazilian painter. Married to the painter Noêmia Mourão in 1932, who would be an inspiration in his works in the later 1930’s. After a prior marriage to his cousin Maria in 1921. Engaged in a pursuit for a Law degree in São Paolo and did not manage to complete this pursuit.Interpretations of artworksIf one looks at the works of art presented by Di Cavalcanti one has to come to terms that this goes against art one would have seen before and thus one has to examine these works differently. Di Cavalcanti was obviously obsessed with the female body, since very many representations are to be found within the works he produced. The street scenes depicted by Cavalcanti have such a friendly feeling to them and one cannot deny the feelings these images evoke within the onlooker themselves. The art Di Cavalcanti produced is very friendly due to the bright color palette and the depictions of everyday life in such a normal, non-romanticized way that they evoke no strong political undercurrent, as seen in the muralisms found in Mexico around the 1930’s and ‘40’s made by Diego Rivera and David Siqueiros. The works produced by these artist were very much so part of revolutionary movement in opposition of the new revolutionary government who came to power in Mexico. Di Cavalcanti on the other hand refrained from overwhelming political representations and made friendly art although he himself was in a pursuit of perfecting the pure Brazilian art which had a clear break with the European influences who had their influences on the art before and still had after Di Cavalcanti started producing his art.

*

the early years (1987-1922)
Born in Rio de Janeiro in 1897, Di Cavalcanti became influenced by the intellectuals he met at his uncle’s house. This would provide the basis for a lifelong politically driven artistic career, which would start by the production of a drawing published by the magazine fon-fon. Di Cavalcanti moved to São Paulo in 1917. At this time Di Cavalcanti held his first exhibition at the Editora do Livro (o livro bookstore) in São Paulo. This first exhibition would only include caricatures with very viable symbolist influences to be found presented in the works. In 1918 Di Cavalcanti would become part of a group of intellectuals and artists in São Paulo which would contain artist like Oswald de Andrade, Mário de Andrade, Guilherme de Almeida, etc. This group would be the direct cause for bringing the Semana de Arte(week of modern art) in life in 1922. For which one can see the cover page on the right of this page. This movement along with the Group of Five wished to revive the artistic environment in São Paulo at the time and had as main interest to free the Brazilian art from the European influences found within it. The works Di Cavalcanti displayed at the Semana would however possess a varying symbolist, expressionistic, and impressionistic influences. This can thus be seen as a continuance of European stylistic influences and this would not change until Di Cavalcanti would return from Paris in 1925 and would locate himself in Rio de Janeiro once again.

*

Years abroad (1923-1925)
Di Cavalcanti would leave the South American continent and would locate himself in Paris and Montparnasse in 1923 until 1925. During this time Di Cavalcanti was employed as a correspondent for the newspaper Correio da Manhã and would attend classes at the Académie Ranson in Paris, which would directly lead him to meet European modernists like Pablo Picasso, Henri Matisse, George Braque, and Léger. During this time his feelings to create a true Brazilian art would flourish and thus lead to his later works.

*

Return to Rio de Janeiro (1926-1936)

After returning from Europe and having experienced the modernist movement in Europe Di Cavalcanti would start working on a more Brazilian art, which Di Cavalcanti and the group who held the Semana de Arte already advocated in 1922. During this time Di Cavalcanti would join the Brazilian Communist Party due to the heightened nationalistic feelings.Di Cavalcanti felt these feelings due to his stay abroad in Paris for three years.Di Cavalcanti embodies the problematic tendency of Brazilian modernists to be pulled in two directions: his subject matter consists of particularly Brazilian themes (mostly mulatto women), but his chief artistic influences are the European modernists and Pablo Picasso most of all. In 1929 Di Cavalcanti also started to work on interior design, as seen in the two panels produced for the Teatro João Caetano ( João Caetano Theatre) in Rio de Janeiro. This was thus another notch in the artistic belt Di Cavalcanti embodied, varying from drawings to paintings and also interior design. In 1930 Di Cavalcanti was involved in an exhibition of Brazilian art at the International Art Center at the Roerich Museum in New York. At this time Di Cavalcanti once again was involved with correspondence and magazines as he was the principal writer for the newly established magazine forma. In 1932 another large group was established by Lasar Segall, Anita Malfatti, and Vitor Becheret which was the Sociedade Pró-Arter Moderna also known as SPAM. The goal of this group was to bring modernism to Brazilian art and follow in the footsteps of the Semana de Arte and encourage a revival of its ideas. On April 28th, 1933 this group would hold the Exposição de Arte Moderna, which would be the first exhibition to feature works produced by Pablo Picasso, Léger, and George Braque all of which were know by the Brazilian people, however these works were never seen in the flesh before this exhibition. The exhibition pieces from the European masters were all borrowed from local Brazilian private collections. This exhibition was such a success that during the second showing in the fall many local Brazilian artist like Di Cavalcanti, Portinari, etc. took part in the exhibition. During the next years until 1937 Di Cavalcanti would be jailed twice for the communistic beliefs and ties he undertook in prior years. During his first incarceration in 1932 Di Cavalcanti would actually meet his wife to be painter Noêmia Mourão after being incarcerated for supporting Revolução Paulisto. The year after this Di Cavalcanti would marry Noêmia Mourão and she became his traveling partner for the years to come until they both got jailed in 1936.

*

Europe again(1937-1940)

In 1937 Di Cavalcanti and his wife Noêmia Mourão would set sail to Paris to stay there until the outbreak of World War II in the start of 1940. During this three year stay abroad Di Cavalcanti was awarded a Gold medal in the Art Technique Exhibition in Paris for his murals performed in the French-Brazilian Coffee Company. After this Di Cavalcanti would produce around 40 works, only to be left behind when he and his wife fled the country on the eve of the German Nazi invasion and would arrive back in São Paolo in 1940.Back in Brazil (1941-1976)After his return to Brazil his nationalistic feelings became even stronger and one can see that in the representations of mulatto women, carnivals, Negroes, deserted alleys, and tropical landscapes which are only to be found in the Brazilian everyday life and social settings and not in European settings and thus providing a clear distinction. Only to lecture about these things in 1948 in the Museu de Arte de São Paulo. Providing a lecture on modernism, expressing nationalism, and opposing abstraction. However trying to do so one will always be encouraged to see the European influences in the works produced by Di Cavalcanti. Di Cavalcanti tried to steer away from these influence, however was ultimately unable to do so during his career. In 1951 the first of the Bienals was held at the Museu de Arte Moderna at São Paulo and provided a great example where Di Cavalcanti’s works were shown. At the Bienal there were many more artists from the South American continent who were seeking for a true national art. The Mexican Muralists Diego Rivera and David Siquieros were thus personally invited by Di Cavalcanti and actually attended. The exuberance and expression of true south American art was a very strong incentive for the founder Francisco Matarazzo Sobrinho or also known as Ciccilo to hold this exhibition again and after completion there was another exhibition to be shown in 1953 . The works left behind after feeing Europe in 1940 were to be recovered in 1966 in the basement of the Brazilian Embassy in Paris.The friendship with local patron and creator of the Bienals, Francisco Matarazzo Sobrinho or better known as Ciccilo, was a direct effect to the donation of 559 drawing by Di Cavalcanti himself to the Museu de Arte Contemporânea which was founded by Ciccilo. The Museu de Arte Contempemporânea is also better known as the MAC and currently has 564 drawings of Di Cavalcanti in its possession of which only 5 were acquired through purchases and the others through the donation by Di Cavalcanti himself.

*

Style

Di Cavalcanti tried through the creation of the Semana de Arte in 1922 and the Bienals in either 1951 and 1953 to push for a true Brazilian art which was to be seen as separated from European stylistic influences. This was a dream and philosophy which can be seen as an ideal for Di Cavalcanti which was never found as one can see stylistic influences from the Italian Renaissance, Muralism, and the European Modernists.

*

Bibliography

Lucie-Smith, Edward, Latin American Art of the 20th Century, Thames & Hudson, Singapore, 2004Amaral, Aracy, Emiliano di Cavalcanti, Americas Society, New York, 1987.Lemos, Carlos, The art of Brazil, Harper & Row, New York, 1983.
http://www.escritoriodearte.com/listarQuadros.asp?artista=23
http://www.sampa.art.br/SAOPAULO/Di%20Cavalcanti.htm

Nomes: Aline 05, Carina 15, Carla 16, Taise 37 3°I

GRUPO DO PORTINARI!
VIDAS SECAS!!!!
I – MUDANÇA
Uma família sertaneja, constituída pelo vaqueiro Fabiano, sinhá Vitória, dois filhos (referidos como menino mais novo e menino mais velho), acompanhados da cachorra Baleia, varam a caatinga na condição de flagelados retirantes. Não sabiam para onde ir: a angústia, a falta de perspectiva e a fome foram atenuadas pelo sacrifício do papagaio e por um preá, caçado por Baleia.
II – FABIANO
Chegam a uma fazenda abandonada e ali se alojam, como invasores. Julga-se homem, mas retrocedendo no pensamento, considera-se mais um bicho, o que não deixava de constituir, para ele, motivo de orgulho: "sim senhor, um bicho capaz de vencer as dificuldades". Tomava conta da fazenda do pouco gado que restara, da casa, de coisas que não eram dele. Criava raízes em terra alheia.
II – CADEIA
O dono da fazenda retorna à propriedade e emprega Fabiano como capataz. O trabalho, ainda que temporário, dá à família uma certa estabilidade. Fabiano vai à feira da cidade fazer algumas compras e tentar vender um porco que matara. É escorraçado pelo fiscal do governo, que lhe exige pagamento de imposto para poder vender a carne. Na bodega em que tomava uma cachaça, Fabiano é convidado por um soldado amarelo para jogar cartas. Perde o dinheiro que estava guardando e, acabrunhado, retira-se do jogo sem se despedir dos parceiros. Fica pensando nas desculpas que iria dar à esposa pela perda do dinheiro, até ser interrompido pelo soldado amarelo que o censura por ter abandonado bruscamente o carteado. Dizendo-se desrespeitado, o soldado dá voz de prisão a Fabiano. Levado para a cadeia, o vaqueiro é impiedosamente surrado. Passa a noite remoendo sua revolta, em completo estado de confusão mental.
IV – SINHÁ VITÓRIA
Sinhá Vitória vê adiado o sonho de possuir uma cama de lastro de couro, igual a de seu Tomás da Bolandeira. A revolta cresce com a rotina dos afazeres domésticos.
V – O MENINO MAIS NOVO
O menino mais novo admirava o pai, vendo-o montar a égua alazã. Imaginava, um dia, vir a ser como ele, principalmente para demonstrar sua coragem ao irmão mais velho e à Baleia. Para tanto, resolve cavalgar num bode: acaba caindo numa ribanceira, sob os risos e chacotas do irmão mais velho e o olhar de censura de Baleia.
VI – O MENINO MAIS VELHO
Sinhá Vitória vivia reclamando da vida, considerando-a um inferno. Intrigado com esta palavra, o menino mais velho pergunta o significado. A mãe se revolta com a própria incapacidade de lhe fornecer uma explicação satisfatória e expulsa-o da cozinha. Humilhado, o menino mais velho procura consolo junto à cachorra Baleia.
VII – O INVERNO
Quando chegam as chuvas de inverno, a família reúne-se ao redor do fogão de lenha para se aquecer. Sonolentos, os meninos ouvem os pais, mais uma vez, desfiarem seus sonhos de felicidade. Fabiano vê afastado o perigo da seca.
VIII – FESTA
Vestindo roupas de passeio, a família vai passar o natal na cidade. Na igreja, só sinhá Vitória identifica-se com a atmosfera de religiosidade e procura participar da missa. Os meninos sentiam-se amedrontados com tanta gente.
IX – BALEIA
Baleia adoece e Fabiano se vê obrigado a sacrificá-la. Todos se desesperam com seu sofrimento, principalmente Fabiano. A morte da cachorra é narrada em câmara lenta, o que amplifica a humanidade que a cercava.
X – CONTAS
Fabiano vai até à casa do patrão acertar as contas pelos trabalhos prestados na fazenda. Os cálculos do patrão eram muito diferentes das contas preparadas por sinhá Vitória. Sentindo-se lesado, Fabiano reclama e passivamente acata a justificativa do patrão, de que a diferença se devia aos juros cobrados pelo empréstimo antecipado. A miragem de permanecer na fazenda vai se desfazendo, o que deixa o vaqueiro revoltado.
XI – O SOLDADO AMARELO
Um ano após sua injusta prisão, Fabiano reencontra o soldado amarelo, perdido na caatinga. A oportunidade de revanche é concreta, mas Fabiano apieda-se do soldado amarelo e deixa-o partir: "governo é governo."
XII – O MUNDO COBERTO DE PENAS
As aves de arribação anunciam a proximidade de nova seca. Os animais começam a tombar, de fome e de sede. Fabiano procura afastá-las a tiros, notando como sua sina era semelhante a de Baleia. Atemorizado, Fabiano pensa no que significam o soldado amarelo e o dono da fazenda. Infeliz e revoltado com sua impotência, volta para casa, julgando-se um "Cabra Safado, mole. Se não fosse tão fraco, teria entrado no cangaço e feito misérias."
XIII – FUGA
Com a chegada da seca, Fabiano, a princípio, pensa em permanecer na fazenda. A morte de um número cada vez maior de reses, no entanto, faz com que ele decida tentar a sobrevivência noutro local. Fogem de madrugada, lembram-se de Baleia e, para atenuar o sofrimento, começam a conversar, alimentando a esperança de chegar a algum lugar onde pudessem ter vida melhor. "E o sertão continuaria a mandar para a cidade grandes homens fortes como Fabiano, sinhá Vitória e os dois meninos".

MODERNISMO: UM NOVO OLHAR PARA A CULTURA DO BRASIL

O Modernismo provocou um corte providencial na cultura brasileira da época, e ainda possui grande influência na arte contemporânea brasileira


O Abaporu, Tarsila do Amaral
Modernismo, como todos sabem teve seu ápice cultural na famosíssima semana de arte Moderna de 1922, ocorrida entre 13 e 17 de fevereiro daquele ano, com grande repercussão entre os intelectuais e jornalistas da época, mas sem o objetivo plenamente alcançado, que era o contato das obras modernistas com o povo brasileiro.

Mas o que poucos sabem é que esse movimento cultural teve um panorama mais amplo do que o apresentado naquela semana. O Modernismo como conceito teve início no meio da década de 1910, depois de Oswald de Andrade ter conhecido o Professor Mário de Andrade, e mais tarde com o retorno da Europa por Anita Malfatti e suas exposições de pintura em 1917, bem como o surgimento do escultor Victor Brecheret, que seriam futuramente as bases das artes plásticas da Semana de 1922. O fim do movimento se deu por volta da década de 40, principalmente com o falecimento de Mário de Andrade, em 1945.

E como todo movimento de longa duração, também foi de grande complexidade e ousadia. Esses intelectuais romperam com toda uma forma de fazer arte, totalmente voltada à Europa, seu povo e seu modo de vida. O Modernismo procurou substituir o conceito de raça pelo de cultura, partindo de novos paradigmas, analisando a arte brasileira como algo efetivamente nacional. Isso se deu com um modo de pensar totalmente novo, incorporando o passado e as tradições brasileiras, mas não como formas inertes e sim utilizando esses elementos como novas ferramentas para criação. Essa perspectiva foi uma afronta para os intelectuais mais ortodoxos, pois ia contra a toda uma forma única de pensar e produzir arte. Os modernistas traziam algo impensado até aquele momento: a busca pela valorização do povo brasileiro. Esta seria baseada no aproveitamento também da cultura popular e não apenas utilizar elementos da cultura erudita, centrando no país e suas necessidades, com anseios e projetos próprios e com apelo ao povo, desvinculando-se das outras nações. Esse desejo se manifestou nas obras feitas naquele período, como retratos do mestiço, da favela, do progresso, colocando pela primeira vez a arte com uma função pública e política perante a sociedade.


Antropofagia, Tarsila do Amaral
Outro conceito muito abordado dentro do Modernismo foi a Antropofagia, criado por Oswald de Andrade, através de seu Manifesto Antropófago (1928). Esse conceito colocado por Madeira e Veloso (1999) seria o passado, a tradição, o primitivo como fontes de um lirismo original, matéria-prima para a paródia e para a crítica, incorporando as contradições entre a natureza e a cidade, a realidade urbana com seus elementos mais radicalmente modernos. E tudo isso se constituiria na “devoração antropofágica” de todos esses elementos para se criar uma nova perspectiva para a nossa cultura, deglutindo tudo a seu redor e trazendo algo mais reflexivo e próximo ao Brasil.

Ao analisar a cultura brasileira por este novo parâmetro, valorizando o nosso povo, bem como tudo produzido aqui, os modernistas causaram um impacto muito grande nas pessoas. O objetivo foi aproximar a grande massa representada naquele movimento artístico. Só que isso acabou não ocorrendo, justamente pela população não ter identificado aquilo que diziam representar a eles mesmos, até por não possuir conhecimento daquilo, por ser uma classe iletrada, portanto, sem maior informação sobre o que seria aquele movimento único na arte brasileira. Outro fator foi o alto custo para se ter acesso a essas obras. Exemplo disso foi o alto preço das noites na Semana de Arte Moderna. Ainda que o Teatro Municipal ficasse aberto durante o dia na semana de fevereiro de 1922, os operários estavam trabalhando, portanto, não tinham condições de acompanhar as exposições, palestras, etc.


A boba, Anita Malfatti
Isso, portanto, coloca em questão a real objetividade que o Modernismo propôs na sociedade da época. Era uma busca de ruptura, com vistas ao povo brasileiro, seu passado e tradições, mas sem uma empatia efetiva com os cidadãos pobres da época, apesar de ser um algo revolucionário, com outro olhar a mostrar. Porém, se com o povo o movimento não obteve êxito, não se pode dizer o mesmo em relação ao acervo cultural e a sua importância no desenvolvimento artístico brasileiro, tendo como enorme influência o Modernismo Antropofágico de Oswald de Andrade, Tarsila do Amaral, Raul Bopp, entre outros já citados. Podemos exemplificar esta influência para a nossa cultura com a Bossa Nova, a Tropicália de Caetano, Gil e a arte daquele período por Oiticica Filho. Lembremos também o modernista Gláuber Rocha com seu Cinema Novo, e posteriormente o movimento musical pernambucano denominado Manguebit. Todos esses períodos representaram plenamente o movimento cultural mais importante de toda a história artística brasileira, afinal o Modernismo nos trouxe uma forma nossa de criarmos a arte brasileira.


bibliografia:
http://www.rabisco.com.br/07/modernismo.htm

grupo:

ADRIANO GABRIEL-2
BRUNO SILVA
ROSANA DOS SANTOS-36
FERNANDA CARVALHO-18
VINÍCIIUS MENDES-43



CÂNDIDO PORTINARI
Brodósqui, SP, 1903.Rio de Janeiro, RJ, 1962.
The son of Italian immigrants who worked on coffee plantations in the São Paulo hinterland, Portinari displayed an early taste for painting when he collaborated in the decoration of the chapel in his hometown, at the request of an itinerant artist. He moved to Rio de Janeiro in 1918, entering the former National School of Fine Arts. He competed in various exhibitions sponsored by the National School of Fine Arts, winning several awards at the outset of his artistic career. In 1928, he received the Travel Abroad prize, and settled in Paris, from where he was to make several trips to the main European capitals.On returning to Brazil, he withdrew from the National School of Fine Arts, seeking to set more authentic parameters for his art. He went through a difficult phase in his professional career, until he established himself as a major artist by winning the Honors Award at an exhibition sponsored by the Carnegie Institute in New York City in 1935 for his painting "Café" [Coffee], today in the collection of the National Museum of Fine Arts, in Rio de Janeiro. From that time onwards, several commissions were made by domestic and foreign institutions. Currently his works are on display in museums in many countries around the world.As a painter, regarded as one of the most representative Brazilian artists, he managed to achieve a fecund fusion of his art with Brazil's cultural and historical dimensions. The artist sought to capture all peculiarities of the Brazilian people through an anthropological vision of the different regions of the country, as exemplified by the twelve panels in the Central Bank collection.

MODERNISMO

O modernismo no Brasil tem como marco simbólico a Semana de Arte Moderna, realizada em São Paulo, no ano de 1922, considerada um divisor de águas na história da cultura brasileira. O evento - organizado por um grupo de intelectuais e artistas por ocasião do Centenário da Independência - declara o rompimento com o tradicionalismo cultural associado às correntes literárias e artísticas anteriores: o parnasianismo, o simbolismo e a arte acadêmica. A defesa de um novo ponto de vista estético e o compromisso com a independência cultural do país fazem do modernismo sinônimo de "estilo novo", diretamente associado à produção realizada sob a influência de 1922. Heitor Villa- Lobos (1887 - 1958) na música; Mário de Andrade (1893 - 1945) e Oswald de Andrade (1890 - 1954), na literatura; Victor Brecheret (1894 - 1955), na escultura; Anita Malfatti (1889 - 1964) e Di Cavalcanti (1897 - 1976), na pintura, são alguns dos participantes da Semana, realçando sua abrangência e heterogeneidade. Os estudiosos tendem a considerar o período de 1922 a 1930, como a fase em que se evidencia um compromisso primeiro dos artistas com a renovação estética, beneficiada pelo contato estreito com as vanguardas européias (cubismo, futurismo, surrealismo etc.). Tal esforço de redefinição da linguagem artística se articula a um forte interesse pelas questões nacionais, que ganham acento destacado a partir da década de 1930, quando os ideais de 1922 se difundem e se normalizam. Ainda que o modernismo no Brasil deva ser pensado a partir de suas expressões múltiplas - no Rio de Janeiro, Minas Gerais, Pernambuco etc. - a Semana de Arte Moderna é um fenômeno eminentemente urbano e paulista, conectado ao crescimento de São Paulo na década de 1920, à industrialização, à migração maciça de estrangeiros e à urbanização.

Anita Malfatti

Anita Catarina Malfatti (1889 – 1964) is heralded as the first Brazilian artist to introduce European and American forms of Modernism to Brazil. Her solo exposition in Sao Paulo from 1917-1918 was extraordinarily controversial at the time, and her artistic style and subject were revolutionary for the rather complacently old fashioned art expectations of Brazilians who were searching for a national identity in art, but who were not at all prepared for the influences Malfatti would bring to the country. Malfatti’s presence was also highly felt during the Week of Modern Art (Semana de Arte Moderna) in 1922, where she and the Group of Five made huge revolutionary changes in the structure and response to modern art in Brazil.

Raphael n30 Lucas 22 Leonardo n21 3ºI(falta obras)

CÂNDIDO PORTINARI
Brodósqui, SP, 1903.Rio de Janeiro, RJ, 1962.
The son of Italian immigrants who worked on coffee plantations in the São Paulo hinterland, Portinari displayed an early taste for painting when he collaborated in the decoration of the chapel in his hometown, at the request of an itinerant artist. He moved to Rio de Janeiro in 1918, entering the former National School of Fine Arts. He competed in various exhibitions sponsored by the National School of Fine Arts, winning several awards at the outset of his artistic career. In 1928, he received the Travel Abroad prize, and settled in Paris, from where he was to make several trips to the main European capitals.On returning to Brazil, he withdrew from the National School of Fine Arts, seeking to set more authentic parameters for his art. He went through a difficult phase in his professional career, until he established himself as a major artist by winning the Honors Award at an exhibition sponsored by the Carnegie Institute in New York City in 1935 for his painting "Café" [Coffee], today in the collection of the National Museum of Fine Arts, in Rio de Janeiro. From that time onwards, several commissions were made by domestic and foreign institutions. Currently his works are on display in museums in many countries around the world.As a painter, regarded as one of the most representative Brazilian artists, he managed to achieve a fecund fusion of his art with Brazil's cultural and historical dimensions. The artist sought to capture all peculiarities of the Brazilian people through an anthropological vision of the different regions of the country, as exemplified by the twelve panels in the Central Bank collection.

O Modernismo Brasileiro

O Modernismo Brasileiro é um movimento de amplo espectro cultural, desencadeado tardiamente nos anos 20, nele convergindo elementos das vanguardas acontecidas na Europa antes da Primeira Guerra Mundial - C2i0N0e, Cubismo e Futurismo - assimiladas antropofagicamente em fragmentos justapostos e misturados.A predominância de valores expressionistas presentes nas obras de precursores como Lasar Segall, Anita Malfatti e Victor Brecheret e no avançar do nosso Modernismo, a convergência de elementos cubo-futuristas e posteriormente a emergência do surrealismo que estão na pintura de Tarsila do Amaral, Vicente do Rego Monteiro e Ismael Nery. É interessante observar que a disciplina e a ordem da composição cubista constituem estrutura básica das obras de Tarsila, Antonio Gomide e Di Cavalcanti. No avançar dos anos 20, a pintura dos modernistas brasileiros vai misturar ao revival das artes egípcia, pré colombiana e vietnamita, elementos do Art Déco.São Paulo se caracteriza como o centro das idéias modernistas, onde se encontra o fermento do novo. Do encontro de jovens intelectuais com artistas plásticos eclodirá a vanguarda modernista. Diferentemente do Rio de Janeiro, reduto da burguesia tradicionalista e conservadora, São Paulo, incentivado pelo progresso e pelo fluxo de imigrantes italianos será o cenário propício para o desenvolvimento do processo do Modernismo. Este processo teve eventos como a primeira exposição de arte moderna com obras expressionistas de Lasar Segall em 1913, o escândalo provocado pela exposição de Anita Malfatti entre dezembro de 1917 e janeiro de 1918 e a 'descoberta' do escultor Victor Brecheret em 1920. Com maior ou menor peso estes três artistas constituem, no período heróico do Modernismo Brasileiro, os antecedentes da Semana de 22.A Semana de Arte Moderna de 22 é o ápice deste processo que visava atualização das artes, e a sua identidade nacional. Pensada por Di Cavalcanti como um evento que causasse impacto e escândalo. Esta Semana proporcionaria as bases teóricas que contribuirão muito para o desenvolvimento artístico e intelectual da Primeira Geração Modernista.

Bibliografia

http://www.mac.usp.br/projetos/seculoxx/modulo2/modernismo/index.html

Nomes: Aline 05, Carina 15, Carla 16, Taise 37 3°I

Tarsila do Amaral

Tarsila do Amaral


Birth name:Tarsila do Amaral
Born: September 1, 1886Capivari, São Paulo, Brazil
Died: January 17, 1973São Paulo, Brazil
Nationality: Brazil
Field: Painter


Tarsila do Amaral, (b. September 1, 1886 in Capivari, São Paulo,- d. São Paulo on January 17, 1973).
Tarsila do Amaral, known simply as Tarsila, is considered to be one of the leading Latin American modernist artists, described as "the Brazilian painter who best achieved Brazilian aspirations for nationalistic expression in a modern style." She was a member of the Grupo dos Cinco (Group of Five), which included Anita Malfatti, Menotti del Picchia, Mário de Andrade, and Oswald de Andrade.

Training
Tarsila was born in the city of Capivari, part of the interior of São Paulo, Brazil, to a wealthy family who were coffee growers and landowners. Her family’s position provided her a life of privilege. Although women of privilege were not expected to seek higher education, her parents supported her educational and artistic pursuits. During her teens, Tarsila and her family traveled to Barcelona, where she attended school and first exhibited her interest in art by copying images seen in the school’s collections
Beginning in 1916, Tarsila studied sculpture in São Paulo with Zadig and Montavani. Later she studied drawing and painting with the impressionist painter Pedro Alexandrino. These were all respected but conservative teachers. In 1920, she moved to Paris and studied at the Académie Julian and with Emile Renard. The Brazilian art world was conservative, and travels to Europe provided students with a broader education in the areas of art, culture, and society. At this time, her influences and art remained conservative.

Brazilian Modernism
Returning to São Paulo in 1922, Tarsila was exposed to modernism after meeting Anita Malfatti, Oswald de Andrade, Mario de Andrade, and Menotti del Picchia. Prior to her arrival in São Paulo from Europe, the group had organized the Semana de Arte Moderna ("Week of Modern Art") during the week of February 11-18, 1922. The event was pivotal in the development of modernism in Brazil. The participants were interested in changing the conservative artistic establishment in Brazil by encouraging a distinctive mode of modern art. Tarsila was asked to join the movement and together they became the Grupo dos Cinco, which sought to promote Brazilian culture, the use of styles that were not specifically European, and the inclusion of things that were indigenous to Brazil.
During a brief return to Paris in 1923, Tarsila was exposed to Cubism, Futurism, and Expressionism while studying with André Lhote, Fernand Léger, and Albert Gleizes. European artists in general had developed a great interest in African and primitive cultures for inspiration. This led Tarsila to utilize her own country’s indigenous forms while incorporating the modern styles she had studied. While in Paris at this time, she painted one of her most famous works, Le Negra (1923). The principle subject matter of the painting is a large negroid female figure with a single prominent breast. Tarsila stylized the figure and flattened the space, filling in the background with geometric forms.
Excited about her newly developed style and feeling ever more nationalistic, she wrote to her family in April 1923:
"I feel myself ever more Brazilian. I want to be the painter of my country. How grateful I am for having spent all my childhood on the farm. The memories of these times have become precious for me. I want, in art, to be the little girl from São Bernardo, playing with straw dolls, like in the last picture I am working on…. Don’t think that this tendency is viewed negatively here. On the contrary. What they want here is that each one brings the contribution of his own country. This explains the success of the Russian ballet, Japanese graphics and black music. Paris had had enough of Parisian art."

Pau-Brasil Period
Oswald de Andrade, who had become her traveling companion, accompanied her throughout Europe. Upon returning to Brazil at the end of 1923,Tarsila and Andrade then traveled throughout Brazil to explore the variety of indigenous culture, and to find inspiration for their nationalistic art. During this period, Tarsila made drawings of the various places they visited which became the basis for many of her upcoming paintings. She also illustrated the poetry that Andrade wrote during their travels, including his pivotal book of poems entitled Pau Prasil, published in 1924. In the manifest of the same name, Andrade emphasized that Brazilian culture was a product of importing European culture and called artists to create works that were uniquely Brazilian in order to "export" Brazilian culture, much like the wood of the Brazil tree had become an important export to the rest of the world. In addition, he challenged artists to use a modernist approach in their art, a goal they had strived for during the Semana de Arte Moderna.
During this time, Tarsila's colors became more vibrant. In fact, she wrote that she had found the "colors I had adored as a child. I was later taught they were ugly and unsophisticated." Her initial painting from this period was E.C.F.B.(Estrada de Ferro Central do Brasil), (1924). The painting represented the new railway that linked Rio de Janeiro to São Paulo, and contained many aspects of the industrial city, such as rail bridges, rail cars, telephone poles, and signals. In addition, however, she included other aspects that would make this modern scene a distinctly Brazilian one: the colorful houses, a colonial church, and palm trees and other vegetation. She combined cubism with vivid colors and tropical elements to create her own unique Brazilian style, featuring local landscapes and scenery. Furthermore, at the time, she had an interest in the industrialization and it’s impact on society.

Antropofagia Period
In 1926, Tarsila married Andrade and they continued to travel throughout Europe and the Middle East. In Paris, in 1926, she had her first solo exhibition at the Galerie Percier. The paintings shown at the exhibition included São Paulo (1924), La Negra (1923), Lagoa Santa (1925), and Morro de Favela (1924). Her works were praised and called "exotic," "original," "naïve," and "cerebral," and they commented on her use of bright colors and tropical images
While in Paris, she was exposed to surrealism and after returning to Brazil, Tarsila began a new period of painting where she departed from urban landscapes and scenery, and began incorporating surrealist style into her nationalistic art. This shift also coincided with a larger artistic movement in São Paolo and other parts of Brazil which focused on celebrating Brazil as the country of the big snake. Building on the ideas of the earlier Pau-Brasil movement, artists strove to appropriate European styles and influences in order to develop modes and techniques that were uniquely theirs and Brazilian.
Tarsila’s first painting during this period was Abaporu (1928), which had been given as an untitled painting to Andrade for his birthday. The subject is a large stylized human figure with enormous feet sitting on the ground next to a cactus with a lemon-slice sun in the background. Andrade selected the eventual title, Abaporu, which is an Indian term for "man eats," in collaboration with the poet Raul Bopp. This was related to the then current ideas regarding the melding of European style and influences. Soon after, Andrade wrote his Anthropophagite Manifesto, which literally called Brazilians to devour European styles, ridding themselves of all direct influences, and to create their own style and culture. Instead of being devoured by Europe, they would devour Europe themselves. Andrade used Abaporu for the cover of the manifesto as a representation of his ideals. The following year the manifesto's influence continued, Tarsila painted Antropofagia (1929), which featured the Abaporu figure together with the negroid figure from Le Negra from 1923, as well as the Brazilian banana leaf, cactus, and again the lemon-slice sun.
In 1929, Tarsila had her first solo exhibition in Brazil at the Palace Hotel in Rio de Janerio, and was followed by another at the Salon Gloria in São Paolo. In 1930, she was featured in exhibitions in New York and Paris. Unfortunately, 1930 also saw the end of Tarsila and Andrade’s marriage. This brought an end to their collaboration.

Late Career and Social Themes
In 1931, Tarsila traveled to the Soviet Union. While there, she had exhibitions of her works in Moscow at the Museum of Occidental Art, and she traveled to various other cities and museums. The poverty and plight of the Russian people had a great affect on her. Upon her return to Brazil in 1932, she became involved in the São Paulo Constitutional Revolt against the current dictatorship of Brazil, led by Getulio Vargas. Along with others who were seen as leftist, she was imprisoned for a month because her travels made her appear to be a communist sympathizer.
The remainder of her career she focused on social themes. Representative of this period is the painting Segundo Class (1931), which has impoverished Russian men, women and children as the subject matter. She also began writing a weekly arts and culture column for the Diario de São Paulo, which continued until 1952.
In 1938,Tarsila finally settled permanently in São Paulo where she spent the remainder of her career painting Brazilian people and landscapes. In 1950, she had an exhibition at Museum of Modern Art, São Paulo where a reviewer called her "the most Brazilian of painters here, who represents the sun, birds, and youthful spirits of our developing country, as simple as the elements of our land and nature…. Tarsila’s life is a mark of the warm Brazilian character and an expression of it tropical exuberance." .

Legacy
Besides the 230 paintings, hundreds of drawings, illustrations, prints, murals, and five sculptures, Tarsila’s legacy is her affect on the direction of Latin American art. Tarsila moved modernism forward in Latin America, and developed a style unique to Brazil. Following her example, other Latin American artists were influenced to begin utilizing indigenous Brazilian subject matter, and developing their own style.

Selected Artworks
An Angler, 1920's, Hermitage Museum, Saint Petersburg, Russia
Cuca, 1924, Museum of Grenoble, France
Landscape with Bull, 1925, Private Collector
El huevo, 1928, Gilberto Chateaubriand, Rio de Janeiro
Abaporu, 1928, Eduardo Constantini, Buenos Aires
Lake, 1928, Private Collection, Rio de Janeiro
Antropofagia, 1929, Paulina Nemirovsky, Nemirovsky Foundation, San Pablo
Sol poente, 1929, Private Collection, São Paulo
Segundo Class, 1933, Private Collection, São Paulo
Retrato de Vera Vicente Azevedo, 1937, Museu de Arte Brasileira, São Paulo
Purple Landscape with 3 Houses and Mountains, 1969-72, James Lisboa Escritorio de Arte, São Paulo

Exhibitions
1922 - Salon de la Societe des Artistes Francais in Paris (group)
1926 - Galerie Percier, Paris (solo)
1928 - Galerie Percier, Paris (solo)
1929 - Palace Hotel, Rio de Janeiro (solo)
1929 - Salon Gloria, São Paulo (solo)
1930 - New York (group)
1930 - Paris (group)
1931 - Museum of Occidental Art, Moscow
1933 - I Salon Paulista de Bellas Artes, São Paulo (group)
1951 - I Bienal de São Paulo, São Paulo (group)
1963 - VII Bienal de São Paulo, São Paulo (group)
1963 - XXXII Venice Bienalle, Venice (group)
2005 - Woman: Metamorphosis of Modernity, Fundacion Joan Miro, Barcelona (group)
2005 - Brazil: Body Nostalgia, The National Museum of Modern Art, Tokyo, Japan (group)
2006 - Salao of 31: Diferencas in Process, National Museum of Beautiful Arts, Rio de Janeiro (group)
2006 - Brazillian Modern Drawing: 1917-1950, Museum of Modern Art, Rio de Janeiro (group)
2006 - Ciccillo, Museum of Art Contemporary of the University of São Paulo, São Paulo (group)
2007 - A Century of Brazillian Art: Collection of Gilbert Chateaubriand, Museum Oscar Niemeyer, Curitiba (group)

Notes
^ Lucie-Smith, Edward. Latin American Art of the 20th Century. London: Thames & Hudson Ltd, 2004: 42.
^ Damian, Carol. Tarsila Do Amaral: Art and Environmental Concerns of a Brazilian Modernist. Woman’s Art Journal 20.1 (1999): 3-7.
^ Damian, Carol. Tarsila Do Amaral: Art and Environmental Concerns of a Brazilian Modernist. Woman’s Art Journal 20.1 (1999): 3-7.
^ Lucie-Smith, Edward. Latin American Art of the 20th Century. London: Thames & Hudson Ltd, 2004: 42.
^ Lucie-Smith, Edward. Latin American Art of the 20th Century. London: Thames & Hudson Ltd, 2004: 44.
^ Damian, Carol. Tarsila Do Amaral: Art and Environmental Concerns of a Brazilian Modernist. Woman’s Art Journal 20.1 (1999): 3-7.
^ Damian, Carol. Tarsila Do Amaral: Art and Environmental Concerns of a Brazilian Modernist. Woman’s Art Journal 20.1 (1999): 5.
^ Damian, Carol. Tarsila Do Amaral: Art and Environmental Concerns of a Brazilian Modernist. Woman’s Art Journal 20.1 (1999): 7.

Sources and Further reading
Congdon, K. G., & Hallmark, K. K. (2002). Artists from Latin American cultures: a biographical dictionary. Westport, CT, Greenwood Press. ISBN 0313315442
Lucie-Smith, Edward. Latin American Art of the 20th Century. London: Thames & Hudson Ltd, 2004.
Damian, Carol. Tarsila Do Amaral: Art and Environmental Concerns of a Brazilian Modernist. Woman’s Art Journal 20.1 (1999): 3-7.
Barnitz, Jaqueline. Twentieth-Century Art of Latin America. China: University of Texas Press, 2006: 57.
Gotlib, Nadia Batella. Tarsila do Amaral: a Modernista. São Paulo: Editora SENAC, 2000.
Pontual, Roberto. Tarsila. Groves Dictionary of Art. Ed. Jane Turner. New York: Macmillan, 1996.
Amaral, Aracy and Kim Mrazek Hastings. Stages in the Formation of Brazil's Cultural Profile. The Journal of Decorative and Propaganda Arts. 21 (1995): 8-25.


Aline 04, Aliny 06, Mariana 24, Renato 32, Tamires 40 3I