Detalhes bibliográficos
| Ano de defesa: |
2024 |
| Autor(a) principal: |
Silva, Adriano Laurentino
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| Orientador(a): |
Avelino, Yvone Dias
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| Banca de defesa: |
Não Informado pela instituição |
| Tipo de documento: |
Dissertação
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| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Pontifícia Universidade Católica de São Paulo
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| Programa de Pós-Graduação: |
Programa de Pós-Graduação em História
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| Departamento: |
Faculdade de Ciências Sociais
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| País: |
Brasil
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| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
https://repositorio.pucsp.br/jspui/handle/handle/41456
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Resumo: |
This dissertation seeks to analyze the representations contained in the paintings produced by the Academia Imperial de Bellas-Artes and the Escola Nacional de Belas Artes at the turn of the 19th century to the 20th century, especially between the years 1880 to 1920, through the artist's paintings Rodolpho Amoedo, who would go on to work at both institutions as a professor in the historical painting course, first as a substitute and then as a permanent member, also reaching the position of vice-director of the National School of Fine Arts between the years 1893-1905. His paintings are listed at the Academia Imperial de Bellas-Artes as those that would transform and reshape the thinking and academic style of those years. As a boarding student in Europe, he was able to meet the most modern in painting in Paris, he studied at the “École des Beaux-Arts” (School of Fine Arts) and at the studios of Alexandre de Cabanel and Puvis de Chavannes, both linked the neoclassical and impressionist schools of painting. Upon assuming the professorship at the National School of Fine Arts, he was able, together with Rodolfo Bernardelli, to begin the process of transforming the academic curriculum and the institution's activities, in light of the artistic demands imposed with the advent of modernity at the beginning of the 20th century. Through his technical knowledge acquired from years of studies in Europe, he helped to reformulate academic teaching and the curriculum at the National School. He was a scathing critic of conservative movements, and despite carrying with him the teachings and tradition of the great masters, he spared no criticism of the aging ideals disseminated by the Academy in Rio society since the Imperial period, such as those linked to Indianism and naturalism, being from the 20th century onwards, considered the first Brazilian painter linked to realism in art and its main representative |
