Portoalegre Brazil Art
The Brazilian writer Antonio Prata recently wrote a text that draws playful parallels between the art of Porto Alegre and that of the Renaissance and colonial times in Brazil. Starting from the first draft of a chronology of Brazilian art, the author identifies the influence of Renaissance architecture on colonial temples as an essential factor in the development of Portuguese art.
The Art of Rio Grande do Sul is the core of the collection, which is particularly important for paintings and works on paper. The most important local artists in this collection are the artists of Porto Alegre, such as Antonio de Oliveira da Silva, Carlos Dominguez and Antonio da Costa. Artists from other parts of the country, such as painter and sculptor Arthur de Souza, as well as sculptors and painters from Rio de Janeiro, will also be present.
Stories of sexuality, which includes paintings, sculptures, drawings and drawings by artists such as Antonio de Oliveira da Silva, Carlos Dominguez, Arthur de Souza and Antonio da Costa.
Apart from the writings of Magalhaes, Torres and Homem, which comment on the status of literature and science in Brazil, this paper takes the work of the IHGB to heart. In the same excerpt, which once again confirms the timeline of Hegelian aesthetics, Porto Alegre turns to a chronology of the works of artists from Rio de Janeiro, proposing for the first time a comparison between the works of Brazilian artists and those of other countries such as France, Germany, Italy, Spain and the United States. Instead of forgetting the influence of these artists on his own work, he tries to link this process with the history of European art. From the IhGB text they present a chronology that follows the various stages of development of European art in greater detail and praises the influences of Italian art and colonial painters.
I do not know what he was thinking when he put together the exhibition, but Porto Alegre seems to mark this moment as the beginning of the classical period of national art and to emphasize the importance of introducing an academic art education in the country. In 1816, the artist came to Brazil as a member of a French art mission, and at that time the state was able to hire him as a professor at the Institute of Art and Art History of Rio de Janeiro. After the opening of the institution, the author highlights the work of French teachers, who have increased their influence on the development of Brazilian art.
In this context, he praises the political and administrative changes that these changes have brought to the national art scene. Porto Alegre demonstrates the historicist logic that underlies his observations of Brazilian art. In summary, Victor Cousin's proposal offers a summary of Brazilian memoria art dedicated to the Fluminense school. Despite the mention of porto alegres in the summary, it criticizes some positive aspects of the baroque aesthetic.
Lia Moritz Schwarcz is Professor of Art History at the University of Sao Paulo and a member of the Faculty of Arts and Humanities.
In 2012 she founded the Museum of Contemporary Art in Sao Paulo, where she is artistic director. In January 2018, a crowdfunding campaign for the Queermuseu began, and it helped to organize one of the most successful crowdfunding campaigns ever launched in Brazil. Brazilians launched an initiative to raise R $1 million to fund the exhibition. She is about to reopen this exhibition in the context of a new exhibition series at the Museu de Arte Nacional de Porto Alegre.
Arts, who managed the organization and furnishing of the museum, invited a renowned painter from Sao Paulo, who had just come to Porto Alegre from the Institute of Fine Arts to teach.
The Brazilian painter Ibere Camargo and the Fundacao Nacional de Art, a cultural institution dedicated to the preservation and promotion of his works, took the step into the Art Museum. Malagoli began collecting paintings scattered in state institutions and, with financial resources, bought local contemporary artists.
The appointment of artists belonging to the "colorists" class has been remembered, and one of the attractions not to be missed in the collection of the Museum of Fine Arts is the collection of paintings commonly referred to as the "colorists of Porto Alegre," a group of artists from Brazil, Argentina, Colombia, Chile, Mexico, Peru and Uruguay. The design is attributed to the German-Brazilian architect Theodor Wiederspahn, the design to Germano Gundlach.
Brazil's artistic and intellectual environment was strongly led by Ibere, who outlined his current movement with extensive works, including paintings, drawings, gouache, and engravings. Brazilian art, intellectuality and environment in which he exercises a strong leadership role and fills his extensive oeuvre, which includes painting, drawing, gouache, engraving, etc.