O que é arte by Jorge Coli is Art & Architecture Da harmonia grega ao kitsh de todos os Afinal, quem adjudge o que é e o que não é arte?. O que é arte - Ebook written by Jorge Coli. reading, highlight, bookmark or take notes while you read O que é arte. Flowing text, Google Generated PDF. Download as PPTX, PDF, TXT or read online from Scribd. Flag for Primeira Missa no Brasil e a invenção da Descoberta – Jorge Coli (In O pintor Pedro Américo () já era um artista renomado quando pintou “Tiradentes.
|Language:||English, Spanish, French|
|Distribution:||Free* [*Registration Required]|
Hauser Arnold - Historia Social De La Literatura Y El Arte - Tomo osakeya.info Uploaded by. Anonymous bIXXco · O que é arte - Jorge osakeya.info Uploaded by. Todos que tentaram PDF File: O que é arte. O Que é Arte - Jorge Coli Leia O Livro. O que é arte Jorge Coli Leia o livro, Da harmonia grega ao kitsh de todos. Faça o download do livro O que é arte gratuito (PDF|ePub|Mobi|Mp3|Txt) Jorge Coli rqweru, Da harmonia grega ao kitsh de todos os tempos. Da Mona Lisa à.
It is here, from the stratagem, that mystery flows. Huge canvases , executed with rare and supported attention, offer our eyes, in a somewhat touchy suggestion, a flawlessly smooth surface. Doubt poses then, immediately. After all, is it photography or painting?
This amazement grows as the painting gets confirmed, oil painting, the most demanding that one may ever think of. Painting that obeys the truth of every detail, bringing it into a big synthetic project. Nothing, on these merciless canvases, seems to have been left at random. The word meditation should not be understood as a metaphore or general stuff. It is, essential, in the genetics processes of creation. The idea was to find the apparently best local traditions and mod- ernize them via cosmopolitan compositional techniques to create the best national art.
This art in turn would then serve to represent the nation both locally and internationally given its simultaneously traditional and cosmopolitan character. Herder , who was concerned with the loss of German identity due to foreign mostly French in- fluence. In this text Dahlhaus expounds upon musical nationalism and national identity in 19th century Europe. Some of his ideas also apply to musical nationalism in the early 20th century, especially with respect to former colonies such as Brazil.
In these countries, the establishment of national identity became an important matter, and artists tried to capture the essence of their nationality in their production, presenting it to European countries as a demonstration of cultural independence.
It is interesting to note which elements Andrade considered important in the making of national art: This [the fact that national music should contain aboriginal elements] is a puerility that includes ignorance about the sociology, ethnicity, psychology, and aesthetics [of Brazil].
National art is not made through discretionary and dilettante elements: a national art is already made in the unconscious of a people. The artist has only to confer to the pre- existing elements a sophisticated transposition that transforms popular music into art music, what means: completely disinterested.
Andrade also suggested that […] the actual period of Brazil, especially in the arts, is of nationalization. We are at- tempting to conform the human production of the country to national reality. It is a mistake to imagine that Brazilian primitivism is aesthetic. It is [actually] social. This work has the tone of a nationalistic manifesto.
Andrade asserts that a composer that did not write nationalistic music in that time should be considered useless. Andrade conceptualizes disinterested music as music that has no clear social function, which means music performed in the concert hall, as opposed to interested music, which has a much more evident social function popular and folk music. In this process, the incorporation of elements related to the roots of Brazilian people and references to modern European aesthetics became common themes for modernist artists.
They used French words in their poetry and prose to make allusion to the French cultural influence in Brazil. Plastic artists used European techniques such as cubism and surrealism to portray themes related to Brazil.
In music, Villa-Lobos worked toward the same goals of other modernist artists and developed this aesthetic of assimilation as well.
In this sense, taking into account the obvious disparities between the racial and cultural formation in Brazil and European countries , these ethnicities held, in their own ways, the cultural elements of the Brazilian Golden Age that modernists were aiming to portray in their art. Choros no. According to Villa-Lobos, Choros no. Thus, in using an indigenous melody to elaborate imitative polyphonic texture emblematic of European musical techniques Villa-Lobos made a clear reference to the idea of assimilating the foreign to portray the national in the very opening bars of Choros no.
Among the material Pinto collected are Amerindian melodies archived in the Museu Nacional , which Villa-Lobos incorporated into some of his compositions. In Choros no. According to Wright, this technique became very common in the Choros and later works. Conclusion As I suggest, the Choros series is a musical synthesis of the Brazilian realities in the s.
Through the analysis of Choros no. Along with the rest of the Choros series, Choros no.
Indeed, in Choros no. This endeavor reflected the major intellectual dilemma of post-colonial Brazilian society: the search for the Brazilian character.
The artistic effervescence in Europe certainly provided Villa-Lobos with the right environment to become the composer he was aiming to be, and if Europeans were receptive to the type of music that Villa-Lobos composed, it was certainly an advantage that he used in his favor.
This task still needs to be thoroughly pursued. London: Verso, Andrade, Oswald. Revista de Antropofagia. Ano 1, no. Appleby, David P. Villa-Lobos: A Bio-Bibliography.
New York: Greenwood Press, Villa-Lobos: A Life London: The Scarecrow Press, Inc. Bandeira, Manuel. VIII, Beard, David and Kenneth Gloag. Musicology: The Key Concepts.
London: Routledge, The Beginnings of Musical Nationalism in Brazil. Entre essas tarefas estava a remessa regular de obras realizadas no exterior. Abandonado e discriminado pelos republicanos, Victor Meirelles morreu pobre em , no Rio de Janeiro. A academia e seus modelos.
In: Academicismo: projeto Arte Brasileira. Rio de Janeiro: Fundarte, , p. COLI, Jorge. A descoberta do homem e do mundo.