Viemos do mar: a resina como força originária e imagem superlativa na obra de Farnese de Andrade
There are artists whose works are born to destabilize us, leaving us immersed in the ambivalence that it is manifested by the simultaneous appearance of the most subversive images amid undeniable, poignant and disturbing beauty. Farnese de Andrade (Brazil, 1926-1996) was one of these artists. In his...
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| Tipo de recurso: | tesis de maestría |
| Estado: | Versión publicada |
| Fecha de publicación: | 2019 |
| País: | Brasil |
| Institución: | Universidade Federal de Minas Gerais (UFMG) |
| Repositorio: | Repositório Institucional da UFMG |
| Idioma: | portugués |
| OAI Identifier: | oai:repositorio.ufmg.br:1843/LOMC-BDXLAE |
| Acceso en línea: | http://hdl.handle.net/1843/LOMC-BDXLAE |
| Access Level: | acceso abierto |
| Palabra clave: | Farnese de Andrade Colagem Montagem Arte contemporânea brasileira Assemblage Imagem Resina Farnese , 1926-1996 Artistas brasileiros Séc XX Arte moderna Séc XX Escultura brasileira Séc XX |
| Sumario: | There are artists whose works are born to destabilize us, leaving us immersed in the ambivalence that it is manifested by the simultaneous appearance of the most subversive images amid undeniable, poignant and disturbing beauty. Farnese de Andrade (Brazil, 1926-1996) was one of these artists. In his uniqueness, and consciously apart from the artistic movements then in force in Brazil, he made his work, a privileged locus of transgression through his montages with various objects a gesture that started from an intensely autobiographical impulse, but that would lead to the universal drama of existence and to the individual vicissitudes that we often share. In his three-dimensional work, Farnese made clear polyester resin a unique medium for the material realization, both technical and conceptual, of some of his main themes (time, origin, fecundation, maternity, birth, death, sexuality, identity, religion, family, pain, loneliness, memory). The present research is a review, a study in poetic reverie, of the montages, of the use of the resin and the condition of the image casted in clear polyester resin in the work of Farnese de Andrade, with emphasis on his series of works entitled We came from the Sea. This is an invitation to a look at a Farnese of the fertile encounter between the sand and the sea. |
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