A pintura beuronense na basílica do mosteiro beneditino de São Paulo: 1914-1922

• Ano de defesa: 2016
• Autor(a) principal: Yang, Klency Kakazu de Brito [UNIFESP]
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de São Paulo (UNIFESP)
• Palavras-chave em Português: beuronese painting; religious art; beuron school of art; parietal monumental sacredpainting; benedictine art; pintura beuronense; arte religiosa; escola de arte de beuron; pintura monumental sacra; arte beneditina
• Link de acesso: https://sucupira.capes.gov.br/sucupira/public/consultas/coleta/trabalhoConclusao/viewTrabalhoConclusao.jsf?popup=true&id_trabalho=4108971; https://repositorio.unifesp.br/handle/11600/46314

This work aims the study of the wall paintings in the Basilica of Our Lady of the Assumption in the Monastery of St. Benedict,at São Paulo city. The church was ornamented after the movement called Restoration of the Brazilian Benedictine Congregation, a joint effort of the Brazilian Benedictine Congregation and Congregation of Beuron. With the arrival of European monks in Brazil, the Beuronese Arts were also landing and fomented therevival of the Gregorian chant, the visual art that arrived was the same model that it is in São Paulo city. This study was developed through literature analysis and field research for elucidation of the questions about beuronese art produced in the São Bento?s Basilica, with emphasis on primary documents and in The Aesthetic of Beuron and other writings by Desiderius Lenz (2007). This research concluded that there was a movement of beuronese models inside and outside the Benedictine walls, and the São Paulo beuronese work has an unique characteristics by the artist Dom Adelbert Gresnicht, who was a disciple of Dom Desiderius Lenz in the "Art School of Beuron."