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|Title:||Estrutura e autonomia pictórica: uma reflexão a respeito da emancipação visual da imagem|
|Other Titles:||Structure and pictorial autonomy: a reflection about the emancipation visual image|
|Keywords:||Pintura; Arte; aspecto psicológico; Filosofia da arte; Percepção de imagem; Painting, Art; psychological aspect; Philosophy of Art; Perceived image|
|Abstract:||This thesis is guided by the theoretical perspective of French semiotics, particularly by its plastic view. The main goal of this work, then, is to lay the groundwork for a research on the history painting of Antonio Parreiras Diogo da Silva (1860-1937), a painter from Niterói. The work proposes to study part of the painter s production which has been rarely discussed, mostly because of the disclosure and the acclaim of Parreiras as a painter of landscapes and, in general terms, the great stigma that the genre of history painting still bears, of being academic and propagandist, that is, considered artistically restricted by its relationship with power. Supported by the fact that Parreiras was a prominent landscape architect, the study seeks to investigate the existence of relations of meaning between the practice of landscape painting and history painting. This may reveal how the plastic values of its historical text produced, as well as dynamically incarnated, and not just figuratively accounted for, the ideals spread by the power, at the time, the republican regime. With a corpus of analysis to be made up of landscape and gender paintings, and especially historical paintings, this thesis aims at showing how the pictorial discourse of Antonio Parreiras imagetically materializes the speech of his hiring public, regarding the construction of a national identity, which is the reason of his great success as a painter of history. From the semiotic analysis of the articulation of the level of expression with the content level, the goal is to demonstrate the effectiveness of the painter s discourse, and that this effectiveness stems from both plastic and figurative quality and strategies that dictate the pace and style of republican values (ZIBERBERG, 2002, 2004). While quite often work with content figures translates, as expected, scenarios and narrative passages of the nation, the topological, chromatic (FLOCH, 1985; GREIMAS, 2004) and materic contrasts (TEIXEIRA, 2002; OLIVEIRA, 2004) articulate themselves in an often surprising construction that intensifies the figurative universe. The thesis was organised in three chapters: the first one deals with the plastic categories in landscape and gender painting; the second one focuses on the characterization of the historic genre and the third one focuses on the analysis of enunciative strategies of the painter's work|
|Appears in Collections:||TEDE sem arquivo|
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