Diante da eficácia das imagens – saber ver a pintura no Brasil Colonial
The article proposes a discussion about the universe of painting in colonial Brazil in order to understand it as formal and cultural components. This is not a conclusive study, as the focus is to propose the debate between teachers who work with illusionist painting of the Baroque universe in the mo...
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| Format: | article |
| Status: | Published version |
| Publication Date: | 2020 |
| Country: | Brasil |
| Institution: | Universidade Federal de Minas Gerais (UFMG) |
| Repository: | Repositório Institucional da UFMG |
| Language: | Portuguese |
| OAI Identifier: | oai:repositorio.ufmg.br:1843/37136 |
| Online Access: | http://hdl.handle.net/1843/37136 https://orcid.org/0000-0003-3963-8338 |
| Access Level: | Open access |
| Keyword: | Pintura ilusionista Perspectiva Quadratura Arte barroca Brasil Arte História Brasil História Período colonial, 1500-1822 |
| Summary: | The article proposes a discussion about the universe of painting in colonial Brazil in order to understand it as formal and cultural components. This is not a conclusive study, as the focus is to propose the debate between teachers who work with illusionist painting of the Baroque universe in the modern period. In this context, the scope is to seek to discuss its potentialities, its reasons, its technical understanding always associated with the study of architecture and perspective treatises. The text emphasizes a dynamic that considers the component of the operative technique, that is, a technical / mathematical / geometric aspect: scientific and another executive / productive aspect: operational. In this segment, quadrature painting in Brazil between the 18th and 19th centuries is very rich in formal / structural aspects, as well as in its thematic aspects. Therefore, our intention is to see the development of perspective as an operational process and not just an application: a procedure based on cultural development during colonial times, since the simple application of codified pictorial dispositions does not find a linear structure in the Portuguese-Brazilian universe. |
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