The allegorical representation of the State in Debret and Pedro Américo
The article proposes a compared iconological analysis of two allegorical paintings dedicated to the representation of the state, both produced during the consolidation of new political orders after institutional ruptures: the stage curtain for the coronation gala in honour of Pedro I in Rio de Janei...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2020 |
| País: | Brasil |
| Institución: | Universidade Federal de Uberlândia (UFU) |
| Repositorio: | ArtCultura (Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.www.seer.ufu.br:article/58642 |
| Acceso en línea: | https://seer.ufu.br/index.php/artcultura/article/view/58642 |
| Access Level: | acceso abierto |
| Palabra clave: | arte no Brasil (séculos XIX e XX) pintura alegórica representação do Estado Art in Brazil (XIX and XX centuries) allegorical painting State representation |
| Sumario: | The article proposes a compared iconological analysis of two allegorical paintings dedicated to the representation of the state, both produced during the consolidation of new political orders after institutional ruptures: the stage curtain for the coronation gala in honour of Pedro I in Rio de Janeiro court theatre(1822), by JeanBaptiste Debret; and Paz e concórdia (1902), by Pedro Américo, exaltation allegory, sketched in 1895 and sold to the Ministry of Foreign Relations in 1903, after an attempt to be exposed in the Paris salon of 1900. While Debret’s work attempts to represent characteristic elements of the Brazilian state, including its ethnical diversity, Pedro Américo’s canvas, as a joker allegory, represents universal concepts and adaptable national contents. |
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