Navegando por Assunto "Pintura"

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A arte de uma margem distante: O “Festival de Artes Pão e Tinta” na favela do Pina (2015 – 2022)
(2024-03-08) Freitas, Emmanuel Vitor Brito de Souza; Silva, Fabiana de Fátima Bruce da; http://lattes.cnpq.br/1540421518242292; http://lattes.cnpq.br/1984180238291088
The International Bread and Paint Arts Festival has been held annually since 2012 in the Pina Favela, in Recife, Pernambuco. The event opens a public selection every year to welcome graffiti artists, musicians, and volunteers who typically engage for five days in a kind of "arts carnival," featuring street graffiti, concerts, and social actions such as hairdressing, braiding, and turban tying, among others. As an independent cultural production, it was conceived as an alternative for the youth of Pina, working on the revitalization of public spaces in the community, thus becoming our main tool in defense of our territory, threatened by real estate speculation. Art emerges from one of Recife's most neglected areas by the government and breaks through the statistics as an alternative for young people to envision a future away from violence, drugs, and crime. With this article, we aim to construct an experiential narrative that problematizes and questions the importance of this activity within a reality of exclusive public institutionalization of artistic/cultural spaces only in the elitized areas of Recife City, demonstrating that peripheral organizations already fulfill this role, addressing this deficit with little or no resources.
As artes do desenho e da pintura na Olinda colonial: os artífices jesuítas e suas obras. (1551-1759)
(2020-10-26) Patriota, Paulo José Falcão; Leite, Bruno Martins Boto; http://lattes.cnpq.br/3005775363936476; http://lattes.cnpq.br/7683702803374338
This work investigated the brothers of the Society of Jesus who were in charge of painting, sculpture and other crafts related to the art of drawing - such as carpenters, gilders and carvers, residents and workers at the Real Colégio Jesuíta de Olinda and their possible art workshop, between the 16th and 18th centuries. Initially, we understand the main problems and discussions regarding the concept of Baroque and its multiple uses for European and Brazilian historiography, with pictorial arts being our focus. Then, assisted by the extensive work of the historian Serafim Leite and by the Triennial Catalogs of the Company of Jesus, we carried out a prosopographic survey of Ignatian artisans and their works.
A Artista Maria Auxiliadora e a Representatividade Negra em suas Pinturas
(2021-08-18) Jesus, Jeisa Pereira de; Carvalho, Marluce Vasconcelos de; http://lattes.cnpq.br/2780914280180020
Este trabajo investiga cómo se ha representado a los negros en la pintura brasileña a lo largo de la historia. Así, nos propusimos como objetivos específicos: analizar las diferencias en las representaciones del negro producidas por la artista negra Maria Auxiliadora da Silva en relación a las de los artistas europeos, y reflexionar sobre la importancia de estas representaciones del citado artista, en la actualidad. veces, según la selección de tres de sus pantallas. Por lo tanto, era importante estudiar los principales artistas que desempeñaron este papel en el arte pictórico, desde los pintores holandeses del siglo XVII, Frans Post (1612-1680) y Albert Eckhout (1610-1666) y los artistas Johann Moritz Rugendas (alemán) (1802-1858) y Jean-Baptiste Debret (francés) (1768-1848) en el siglo XIX. Identificamos el surgimiento de los primeros pintores brasileños negros en incorporarse a la AIBA - Academia Imperial de Bellas Artes, aún en el siglo XIX y los llamados artistas negros populares, que estaban apareciendo en la escena artística en el siglo XX. La metodología utilizada fue la investigación documental y bibliográfica, entre las diversas referencias utilizadas, podemos destacar a los autores: Vagner Gonçalves da Silva (2005), Lélia Coelho Frota (1978), Darcy Ribeiro (2020), y otros que se encontraron durante la investigación. en artículos académicos y disertaciones de maestría. Por tanto, nuestra investigación bibliográfica siguió un método de estudio basado en la historia en el que contextualizamos la representación de los negros por parte de los pintores mencionados. Identificar la presencia de los negros y sus vivencias en las tres obras seleccionadas de María Auxiliadora, por traer conceptos sólidos de la cultura afrobrasileña, importantes para la formación de nuestra cultura nacional y analizar la diferencia entre sus representaciones en relación a las del pintor. , poniéndonos a reflexionar sobre la importancia de estas representaciones negras en la contemporaneidad, a partir de tres lienzos seleccionados por este artista. Notamos que la artista no solo representó la cultura afrobrasileña como parte de su vida diaria, sino que también trajo fuertes conceptos de la cultura afrobrasileña, como sus manifiestos religiosos, que abarcan las festividades, la musicalidad, la estética de su indumentaria, entre otras características. , importante para la formación de nuestra cultura nacional.
Pintura, desenho e fantasia como recurso estético, imersivo e emotivo em games: o caso de Okami e Seasons After Fall
(2019-07-13) Wanderlei, Camila Carvalho; Torres, Niedja Ferreira dos Santos; http://lattes.cnpq.br/3501803097646190; http://lattes.cnpq.br/1284173644092278
Cultural activities based on classical arts and traditional painting methods have been resignified and appropriated by digital media, not being restricted to the usual spaces, such as museums, gyms and workshops. Among the various media segments where this appropriation is observed, digital games, whose imaginary appeal is central actor in the composition of the work, have titles where it is possible to find preponderance of traditional artistic elements, playing the most diverse aesthetic-narrative roles, which It leads us to analyze how these elements can be reframed in specific cases and how they influence the work that uses them through this case study. Okami and Seasons after Fall, two games available for the playstation console platform, represents two very special cases, as they not only use traditional painting elements, sumi-ê and watercolor painting respectively, but also give prominence to such elements in their structure and composition. Okami presents a whole world built in the sumi-ê style, bringing in its mechanics the use of a brush that allows the player to create and modify such a world, not only respecting the minimalist style of sumi-ê, but also the weight that each stroke should contain to express the essence of what the artist proposes to paint, incorporating in its narrative structure elements and fundamental precepts of the style of painting that marked and defined the game, being much more than just a mere aesthetic resource. Seasons after Fall is all built based on the style of watercolor painting where elements such as playfulness and bucolicism reside in their simple narrative. In its remarkable characters we can find animals whose atmosphere permeates the mystery, mysticism, gloom and melancholy given the sound and visual composition of the game. All these composing elements come together to create the key moment of contemplation and appreciation of the work allowing the player to immerse and identify with the story and characters. When interacting with both games, moments of deep identification and immersion arise, even though they are completely different in their proposals, mainly thanks to their original and inventive imagery that exposes the player to the techniques of painting literally or symbolically.