O ensino de arte em Minas Gerais (1940-1960): diálogos e colaborações entre a arte e a educação nova

• Ano de defesa: 2013
• Autor(a) principal: Marilene Oliveira Almeida
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Minas Gerais; UFMG
• Palavras-chave em Português: Escola nova; Educação; Augusto Rodrigues; Helena Antipoff; Arte; Sociedade Pestalozzi de Belo Horizonte; Arte e educação; Educação Historia; Rodrigues, Augusto, 1913-1993; Antipoff, Helena, 1892-1974; Arte Estudo e ensino
• Link de acesso: http://hdl.handle.net/1843/BUOS-9FCF2V

This dissertation brings a documentary analysis about art education in Complexo Educacional da Fazenda do Rosário, Ibirité, Minas Gerais. This institution was established in 1939, by Helena Antipoff, psychologist and Russian educator, with the aid of collaborators. This research aimed to verify how was the art education developed in the institution, in the decades of 1940 and 1950, with focus in the identification of a net of collaborators who could have contributed to the educator promote a movement of integration between art and education, in interchange with the escolanovistas ideals. This study had as presupposition that the relation established between Antipoff and the artist-educator August Rodrigues was an important partnership for the conception and execution of art education developed in Fazenda do Rosário. The partnership between Antipoff and Rodrigues retraces to the foundation of Sociedade Pestalozzi do Brasil (1945), established by Antipoff and collaborators and of the Escolinha de Arte do Brasil (1948), founded by initiative of Rodrigues, other artists and support of Antipoff, in the period when the educator acted in Rio De Janeiro/Ministério da Saúde (1944-1949), without disconnect of the works developed in Minas Gerais. By means of collaborators, many of them working in this institutions, it was possible that Antipoff established partnerships that had allowed she to develop art education in such a way to attend childrens, adolescents and adults of local community, as to formation of agricultural professors. The sources analyzed in this study are from diverse sorts: writings and manuscripts of Antipoff, correspondences exchanged with collaborators and authorities, institucional journal and newspappers, folders of spreading of art exposition, photos taken while visitis of artist-educators, record books of pupils and professors, etc. The consulted documents indicate a moving towards to streamline work of art in Fazenda, sometimes in courses carried through in the proper institution, sometimes in accords to take care of to the professors in formation that gone to Rio, in Escolinha de Arte and also in Pestalozzi do Brasil, where Rodrigues also were professor. The results show that, in the Rosário, it had the promotion of workshops of manual works, with use of the local raw material, as: natural ceramics, bamboo, staple fibres, carpentry and notch in wood; textile production in manual sewing presses; as well as the development of the theater of dolls, indicated as recreative activity, of pedagogical use in the schools. The art education in Fazenda do Rosário was developed as possibility of human being and professional formation, as much for adults, agricultural professors, as well as for children and adolescents. In this direction, Antipoff undertook efforts to bring national and foreign artist-educators who had collaborated to that art could reach the local community, bringing better conditions of life and making art education be multiplied by formation of professors to act in agricultural education.