Fazenda Guatapará, Colônia São Martinho, Guatapará, São Paulo, Brasil - Guilherme Gaensly

Fazenda Guatapará, Colônia São Martinho, Guatapará, São Paulo, Brasil - Guilherme Gaensly
Guatapará - SP
Série Especial Dedicada à Fazenda Guatapará N. 4
Fotografia - Cartão Postal

Fazenda Guatapará, Almoço na Roça, Guatapará, São Paulo, Brasil - Guilherme Gaensly

Fazenda Guatapará, Almoço na Roça, Guatapará, São Paulo, Brasil - Guilherme Gaensly
Guatapará - SP
Série Especial Dedicada à Fazenda Guatapará N. 14
Fotografia - Cartão Postal

Fazenda Guatapará, Vista Geral da Fazenda, Guatapará, São Paulo, Brasil - Guilherme Gaensly

Fazenda Guatapará, Vista Geral da Fazenda, Guatapará, São Paulo, Brasil - Guilherme Gaensly
Guatapará - SP
Série Especial Dedicada à Fazenda Guatapará N. 2
Fotografia - Cartão Postal

Fazenda Guatapará, Cafezal de 800.000 Pés, Guatapará, São Paulo, Brasil - Guilherme Gaensly

Fazenda Guatapará, Cafezal de 800.000 Pés, Guatapará, São Paulo, Brasil - Guilherme Gaensly
Guatapará - SP
Série Especial Dedicada à Fazenda Guatapará N. 5
Fotografia - Cartão Postal

As Quatro Versões da Tela "O Grito" (Skrik / The Scream) - Edvard Munch

As Quatro Versões da Tela "O Grito" (Skrik / The Scream) - Edvard Munch
Artigo

O Grito (Skrik / The Scream) - Edvard Munch

O Grito (Skrik / The Scream) - Edvard Munch
Museu Munch, Oslo, Noruega
Pastel sobre madeira - 74x56 - 1893



As the earliest version of “The Scream”, this pastel appears to be the sketch in which Munch mapped out the essentials of the composition.

O Grito (Skrik / The Scream) - Edvard Munch

O Grito (Skrik / The Scream) - Edvard Munch
Munch Museu Oslo
Óleo e têmpera sobre madeira - 83x66 - 1910

The 1910 version of The Scream was stolen on 22 August 2004, during the daylight hours, when masked gunmen entered the Munch Museum in Oslo and stole it and Munch's Madonna. A bystander photographed the robbers as they escaped to their car with the artwork. On 8 April 2005, Norwegian police arrested a suspect in connection with the theft, but the paintings remained missing and it was rumored that they had been burned by the thieves to destroy evidence. On 1 June 2005, with four suspects already in custody in connection with the crime, the city government of Oslo offered a reward of 2 million Norwegian krone (roughly US$313,500 or €231,200) for information that could help locate the paintings. Although the paintings remained missing, six men went on trial in early 2006, variously charged with either helping to plan or participating in the robbery. Three of the men were convicted and sentenced to between four and eight years in prison in May 2006, and two of the convicted, Bjørn Hoen and Petter Tharaldsen, were also ordered to pay compensation of 750 million kroner (roughly US$117.6 million or €86.7 million) to the City of Oslo. The Munch Museum was closed for ten months for a security overhaul.

On 31 August 2006, Norwegian police announced that a police operation had recovered both The Scream and Madonna, but did not reveal detailed circumstances of the recovery. The paintings were said to be in a better-than-expected condition. "We are 100 percent certain they are the originals," police chief Iver Stensrud told a news conference. "The damage was much less than feared." Munch Museum director Ingebjørg Ydstie confirmed the condition of the paintings, saying it was much better than expected and that the damage could be repaired. The Scream had moisture damage on the lower left corner, while Madonna suffered several tears on the right side of the painting as well as two holes in Madonna's arm. Before repairs and restoration began, the paintings were put on public display by the Munch Museum beginning 27 September 2006. During the five-day exhibition, 5,500 people viewed the damaged paintings. The conserved works went back on display on 23 May 2008, when the exhibition "Scream and Madonna — Revisited" at the Munch Museum in Oslo displayed the paintings together. Some damage to The Scream may prove impossible to repair, but the overall integrity of the work has not been compromised. 

O Grito (Skrik / The Scream) - Edvard Munch

O Grito (Skrik / The Scream) - Edvard Munch
Coleção privada
Vendido em um leilão da Sotheby's por US$ 119.922.500.
Pastel - 79x59 - 1895

Edvard Munch's The Scream numbers among the most celebrated images in art history. It is one of few masterpieces that require no introduction, as it has been analyzed, reproduced, referenced, interpreted and commercialized more often than perhaps any picture bar Leonardo's Mona Lisa. Since its creation in the 1890s The Scream has become of a cornerstone of our visual culture, burned onto our collective retina as the definitive image of horror at modernity's core. In one image, Munch initiates the Expressionist gesture which will fuel art history through the twentieth century and beyond.

The present composition was completed in 1895 and is one of four renditions of The Scream. The other three versions are housed in Norwegian museums, leaving this the only Scream in private hands. Munch executed the prime version, now in the Nasjonalgalleriet, Oslo, in the fall of 1893. The image was conceived as a part of an epic series, known as the Frieze of Life, exploring the progression of modern emotional life through themes of Love, Anxiety and Death. The Scream was conceived as the climactic finale of the Love cycle. This narrative explores the beckoning of love (The Voice), its aspects of pleasure (The Kiss); pain (The Vampire); erotic mystery (Madonna); guilt (Ashes) and, ultimately, despair (The Scream). Munch's ambition with the Frieze was to create through deeply-felt personal experience a new kind of history painting for the godless age.

Entitled Motifs from the Life of a Modern Soul, the Frieze was first shown in Berlin in 1893. The Scream was singled out as the most powerful composition and quickly transcended its original context. It began, in fact, the previous year as a prose-poem describing Munch's experience at Ekeberg in the hills above Kristiania (now Oslo). Uniquely, he inscribed this text on the frame of the present work in blood-red paint:

I was walking along the road with two friends. The Sun was setting –
The Sky turned a bloody red
And I felt a whiff of Melancholy – I stood
Still, deathly tired – over the blue-black
Fjord and City hung Blood and Tongues of Fire
My Friends walked on – I remained behind
– shivering with Anxiety – I felt the great Scream in Nature

E.M.

Rooted in Munch's own experience, The Scream reveals the influence of Hans Jaeger, the nihilist leader of Kristiania's bohemian group. Jaeger attacked Christianity, bourgeois morality and law as false idols, inspiring Munch to penetrate beyond their artifice. As Reinhold Heller describes, "Hans Jaeger had formulated the dictum that a writer write only his own biography; to Munch he left the advice to paint his own life, and Munch formulated it into 'I paint, not what I see, but what I saw'. This was the content of his new monumental art; subjective psychological experiences, raised to the level of universal statements analyzing the soul of modern man - replacing the Greek epics, the drama of history which Lessing had still seen as the artist's source of inspiration. Introspection replaced external inspiration" (R. Heller, op. cit., p. 39).

Munch's first attempt at rendering visually his Ekeberg experience was his painting Despair from 1892. In this composition, also known by the evocative title Deranged Mood at Sunset, the artist depicts himself leaning contemplatively over the clifftop balustrade while the sun sets over the fjord and his friends walk on ahead. Over subsequent months he developed this theme. Suddenly, in one sketch, Munch turns the head of his protagonist to face the viewer. This gesture transforms the image, ripping away its anecdotal, mood-driven roots and creating instead a confrontation. What is more, in the pastel Scream of 1893 which follows this decisive rupture the figure has been stripped of its hat and every civilizing feature: sexually-ambiguous, with facial features diminished, it now appears dehumanized, spineless and organic. Munch's protagonist, without precedent in the history of art, appears fully-formed, startling and mesmerizing. As Heller notes, "The sexless, emasculated figure of The Scream loses itself in the environment as its skull-like face and twisting torso takes on the art nouveau curvature of the landscape rather than retaining human form. In its intense state of anxiety and despair, it becomes less real than the vitalized environment surrounding it and the loss of identity becomes death" (ibid., p. 90).

After executing two versions in 1893, Munch would return to The Scream only twice, outside of graphic media. In 1895 he created the present example for German coffee magnate Arthur von Franquet, probably as a direct commission. Von Franquet was an early collector of Munch's graphic work whose correspondence reflects his importance in the artist's eyes. The emphatic signature, date, and plaque featuring the Ekeberg text suggest that Munch was keen to impress Von Franquet with his Scream. Munch held on to the 1893 picture until 1910, when he sold it to Norwegian industrialist, Olaf Schou. Always hating to part with his "children", it is believed that he made a final version for his own collection at that point.

The present Scream has perhaps the greatest visual impact of all. In a new essay, Reinhold Heller argues that the 1893 picture "was dominated by relatively muted hues, their intensity dampened in their thin pigment. The 1895 pastel, in contrast, explodes and throbs with intense color, with sharp reds, acid yellows, blaring orange, absorbent blues and somber green. This pastel, in effect, screams louder, more persistently, more intensely, more stridently." (R. Heller, "Making a Picture Scream," 2012, in Sotheby's catalogue devoted to The Scream). Also unique to this version is the modification of one of the "friends", who pauses to look out over Kristiania. With this revision Munch takes us back to the Scream's origins in Despair and also dramatizes the stages of his prose-poem (reading the figures from background to foreground).

To reflect the innovative subject matter of his Frieze of Life, Munch sought to create a radically new kind of art-object which defined itself against centuries of picture-making. All versions of The Scream are executed on board, eschewing the sensuous appeal of oil paint on canvas, as well as glazes and varnishes which mask the artistic process. In place of illusion, the artist insists shockingly upon the authenticity of his mark. "Rather than eliminating "primitive", uncultured, unrefined, unfinished and seemingly unskilled qualities, Munch preserved and vehemently accented, even exaggerated and intensified them. ...[The Scream] appears as if it were rapidly executed, leaving no time to hide its diverse components. It acts as an evident record of its own making, of Munch's action on it as he made the marks and forms on its surface. The picture is its own autobiography made visible. As such it cannot be separated from its own maker, and testifies to the same "I" that is the voice of the prose-poem. Both are offered as testimony to a personal experience being revealed" (ibid.).

Sue Prideaux explores the context of that personal experience in her biography of the artist. Munch was raised in a pious bourgeois family with a history of mental illness and tragedy, including the traumatic loss of his mother, sister and father, as well as a near-death experience of his own. His art spelled rebellion and the site of epiphany at Ekeberg was a loaded one: "The experience came to him high up on Ekeberg at sunset. Ekeberg is to the east of Oslo. It is the only point from which one can look across and see the city Munch now hated, spread across the water, as Christ was the city spread before Him from a high place, when the Devil tempted him....  The main slaughterhouse for the city was up there, and so was Gaustad, the city's madhouse, in which Laura [Munch's sister] had been incarcerated. He had probably gone up there to visit her; there was no other discernible reason. The screams of the animals being slaughtered in combination with screams of the insane were reported to be a terrible thing to hear" (S. Prideaux, op. cit., p. 151). Ekeberg was also, it might be added, a notorious suicide spot.

With this projection of his psychological state, Munch far exceeds even the most daring proto-Expressionist compositions of his Dutch contemporary, Vincent van Gogh. This is what makes Munch so great and so significant," wrote the Polish critic Przybyszweski, "that everything which is deep and dark, all that for which language has not yet found any words, and which expresses itself solely as a dark, foreboding instinct..." (quoted in R. Heller, op. cit., p. 76).

There is no question that Munch's Scream experience was sincere and profoundly harrowing, albeit one heightened by stress and alcoholism. "You know my picture, The Scream?", he later wrote, "I was being stretched to the limit – nature was screaming in my blood – I was at a breaking point... You know my pictures, you know it all – you know I felt it all" (ibid., p. 152). Yet the artist was also more self-aware and marketing savvy than history has tended to portray. He certainly cultivated his identity as the quintessential Nordic melancholic loner. In 1892, "Die Affaire Munch", his Berlin exhibition famously closed down after a week by a scandalized art establishment, taught him that shocking his audience was an assured route to celebrity and success: "This is the best thing that could have happened to me!", he wrote to his Tante Karen, "A better advertisement I couldn't have wished for.... Send the evening things as soon as you can but actually I need money more than clothes. Yes, the exhibition is creating enormous indignation since there are a lot of terrible old painters who are beside themselves at the new trend..." (quoted in ibid, pp. 137-38).

When, several months later, Munch created The Scream he must surely have had this lesson in mind. From its garish, clashing colors; through its vertiginous perspective sucking the viewer into a vortex; to the nightmarish, skull-faced figure pressed against the picture plane – The Scream is a work which seeks to shock through every possible means. And today, incredibly, despite its celebrity and familiarity, that power remains undiminished.

In the 1889 text known as the "Saint-Cloud Manifesto", Munch described his ambitions for a deeply personal yet universal art which would provide a secular modern alternative to the grand manner:

I thought I should make something – I felt it would be so easy – it would take form under my hands like magic.
Then people would see!
...People would understand the significance, the power of it. They would remove their hats like they do in church.
There would be pictures of real people who breathe, suffer, feel and love.
I felt impelled – it would be easy.

(E. Munch, written in 1889, reprinted in Sue Prideaux, Edvard Munch, Behind the Scream, New Haven & London, 2005,  p. 120)

In The Scream, Munch succeeded in creating an archetype which would touch viewers across continents and centuries. If its early fame owed much to the hundred-or-so lithographs Munch produced, when critical reception tended to focus on psychoanalysis and philosophy, it was the unfurling of twentieth-century history which secured the global profile the picture enjoys today. Executed on the cusp of the most violent century in history, The Scream turned out to be extraordinarily prescient. After World War II and the Holocaust, the picture looked different: the horror it embodies was intensified and The Scream became the defining image of Existentialism. Francis Bacon's Screaming Popes amplified Munch's tortured, mute "O" for a new generation. Since then its popularity has only grown, and during periods of cultural anxiety it has become the universal symbol of anguish (in March 1961, for instance, Time magazine made The Scream the cover of its "Guilt and Anxiety" issue). By the time Andy Warhol made his Screams in the 1980s the picture had transcended definitively its fine art origins to become the property of pop culture, alongside Coke bottles, Campbell's soup cans, Elvis and Liz Taylor.

Thefts of The Scream from two Norwegian museums in 1994 and 2004 underlined the potency of the image. Front-page media coverage around the world, ironically, only added further to the work's celebrity. Thankfully both pictures were recovered but the global unease their respective disappearances prompted speaks loudly of the The Scream's significance in our culture. Munch – ever reticent – was careful never to explain The Scream. Part of its appeal, surely, is that the picture is irreducible to any single reading – in fact, it can probably sustain an infinite number of interpretations. What is beyond question, however, is that Munch created from his Ekeberg epiphany an unforgettable image of horror and pathos which will continue to fascinate for centuries to come.

Fonte: http://www.sothebys.com/en/auctions/ecatalogue/2012/impressionist-modern-art-evening-sale-n08850/lot.20.html

O Grito (Skrik / The Scream) - Edvard Munch

O Grito (Skrik / The Scream) - Edvard Munch
Galeria Nacional da Noruega Oslo
Óleo, têmpera, pastel e giz de cera sobre papelão - 91x73 - 1893

O Grito (em norueguês: Skrik) é uma série de quatro pinturas do norueguês Edvard Munch, 1893. A obra representa uma figura andrógina num momento de profunda angústia e desespero existencial. O plano de fundo é a doca de Oslofjord (em Oslo) ao pôr-do-Sol. O Grito é considerado uma das obras mais importantes do movimento expressionista e adquiriu um estatuto de ícone cultural, a par da Mona Lisa de Leonardo da Vinci.

A série tem quatro pinturas conhecidas: dois dos quadros da série, "A Ansiedade" e "O Desespero", se encontram na posse do Museu Munch, em Oslo, outra na Galeria Nacional de Oslo e outra em coleção particular. Em 2012, esta última tornou-se a pintura mais cara da história a ser arrematada, num leilão, por 119,9 milhões de dólares.

Usando das cores para traduzir a intensidade dos sentimentos e desprezando a exigência de verossimilhança da pintura naturalista, Edvard Munch dá uma interpretação pessoal do real que abre caminho ao Expressionismo.

O pintor baseou seu estilo fortemente expressivo em Toulouse-Lautrec, Van Gogh e Gauguin. O Grito foi pintado em Berlim, onde Munch se estabeleceu depois que a controvérsia provocada por seus quadros tinha levado à Secessão de Berlim, mas ainda se percebe a influência dos três pintores. O quadro é uma imagem do medo irracional que sentimos durante um pesadelo. Munch visualiza essa experiência sem o auxílio de aparições assustadoras, e é por essa razão que sua obra é mais convincente. O ritmo das linhas longas e sinuosas parece fazer com que o eco provocado pelo grito reverbere por todos os cantos do quadro, transformando o céu e a terra em uma grande e sonora cena de horror.

A fonte de inspiração de O Grito pode ser encontrada na vida pessoal do próprio Munch, um homem educado por um pai controlador, que assistiu quando criança à morte da mãe e de uma irmã. Decidido a lutar pelo sonho de se dedicar à pintura, Munch cortou relações com o pai e integrou a cena artística de Oslo. A escolha não lhe trouxe a paz desejada, bem pelo contrário. Munch acabou por se envolver com uma mulher casada que só lhe trouxe mágoa e desespero e no início da década de 1890, Laura a irmã favorita, foi diagnosticada com doença bipolar e internada num asilo psiquiátrico. O seu estado de espírito está bem patente nas linhas que escreveu no seu diário:

Eu caminhava com dois amigos - o sol se pôs, o céu tornou-se vermelho-sangue - eu ressenti como que um sopro de melancolia. Parei, apoiei-me no muro, mortalmente fatigado; sobre a cidade e do fiorde, de um azul quase negro, planavam nuvens de sangue e línguas de fogo: meus amigos continuaram seu caminho - eu fiquei no lugar, tremendo de angústia. Parecia-me escutar o grito imenso, infinito, da natureza. (MUNCH apud NAZÁRIO, 1999, p. 151)

Munch imortalizou esta impressão no quadro O Desespero, que representa um homem de cartola e meio de costas, inclinado sobre uma vedação num cenário em tudo semelhante à da sua experiência pessoal. Não contente com o resultado, Munch tentou uma nova composição, desta vez com uma figura mais andrógina, de frente para o observador e numa atitude menos contemplativa e mais desesperada. Tal como o seu precursor, esta primeira versão d’O Grito recebeu o nome de O Desespero.

O quadro foi exposto pela primeira vez em 1903, como parte de um conjunto de seis peças, intitulado Amor. A ideia de Munch era representar as várias fases de um caso amoroso, desde o encantamento inicial a uma rotura traumática. O Grito representava a última etapa, envolta em sensações de angústia.

A recepção crítica foi duvidosa e o conjunto Amor foi classificado como arte demente (mais tarde, o regime nazi classificou Munch como artista degenerado e retirou toda a sua obra em exposição na Alemanha). Um crítico considerou o conjunto, e em particular O Grito, tão perturbador que aconselhou mulheres grávidas a evitar a exposição. A reação do público, no entanto, foi a oposta e o quadro tornou-se em motivo de sensação. O nome O Grito surge pela primeira vez nas críticas e reportagens da época.

Munch acabou por pintar quatro versões de O Grito, para substituir as cópias que ia vendendo. O original de 1893 (91x73.5 cm), numa técnica de óleo e pastel sobre cartão, encontra-se exposto na Galeria Nacional de Oslo. A segunda (83,5x66 cm), em têmpera sobre cartão, foi exibida no Museu Munch de Oslo até ao seu roubo em 2004. A terceira pertence ao mesmo museu e a quarta era propriedade de um particular, até ser arrematada em um leilão da Sotheby's, em maio de 2012. Para responder ao interesse do público, Munch realizou também uma litografia (1900) que permitiu a impressão do quadro em revistas e jornais.

Assim como a maioria das pinturas expressionistas, O Grito também coloca na tela os dramas mais obscuros da sociedade e do pintor. Munch subverte a atmosfera e a figura protagonista da obra com ondulações de tons vivos e sombrios, até reproduzir o reflexo de um espelho deformante. Sempre exteriorizando algo negativo, usando das deformações e das cores para causar esta angústia.

Em 12 de Fevereiro de 1994, O Grito da Galeria Nacional de Oslo foi roubado em pleno dia, por um conjunto de ladrões que se deu ao trabalho de deixar uma mensagem que dizia: Obrigado pela falta de segurança. Nesse dia, as atenções do país estavam todas na pequena cidade de Lillehammer, devido à cerimônia de abertura dos Jogos Olímpicos de Inverno. Três meses depois, os assaltantes enviaram um pedido de resgate ao governo norueguês, exigindo um resgate no valor de um milhão de dólares americanos. As entidades norueguesas recusaram a exigência e pouco depois, a 7 de Maio, o quadro foi recuperado numa ação conjunta da polícia local com a Scotland Yard.

Em 22 de Agosto de 2004, a versão exposta no Munch Museum foi roubada num assalto à mão armada que levou também a Madonna do mesmo autor. O Museu ficou à espera de um pedido de resgate, que nunca chegou. Em Abril de 2005 foi preso um homem em ligação a este crime e surgiram rumores que os assaltantes tivessem queimado o quadro como forma de eliminar provas. A polícia norueguesa anunciou ter reencontrado os quadros a 31 de Agosto de 2006.

Em Dezembro de 2006 os danos causados ao quadro, pelos ladrões, foram qualificados como "irreparáveis" por especialistas em pinturas do Museu Munch. As pequenas manchas produzidas pela humidade são vistas pelos peritos como um problema sem solução alguma, enquanto uma série de fendas e buracos causados por queimaduras de cigarros, exigem trabalhos de restauro extremamente complicados e difíceis. No entanto, os danos não terão repercussões para os visitantes do Museu Munch.

Munch pintou ao longo de décadas quatro versões de "O Grito". Três delas estão em museus na Noruega, enquanto a quarta estava nas mãos de Petter Olsen, um empresário norueguês cujo pai foi amigo e patrono de Munch, tendo adquirido inúmeros quadros ao artista.

Nesta versão, de 1895, as cores são mais fortes do que nas outras três versões e é a única em que a moldura foi pintada pelo artista com o poema que descreve uma caminhada ao por do sol que inspirou a pintura. Outra particularidade única desta versão é que uma das figuras que está em segundo plano olha para baixo, para a cidade.

Em 2 de Maio de 2012 foi vendido através da Sotheby's pelo preço recorde de 119,9 milhões de dólares (cerca de 91 milhões de euros), tornando-se a obra mais cara de sempre em leilão, superando o quadro até então recordista, de Pablo Picasso, Nu, Folhas e Busto, que em Maio de 2010 foi leiloado por 106,5 milhões de dólares (81 milhões de euros). "O Grito" foi adquirido no leilão, por telefone, pelo americano Leon Black.

Natureza Morta (Natureza Morta) - Clodomiro Amazonas

Natureza Morta (Natureza Morta) - Clodomiro Amazonas
Coleção privada
OST - 37x54 - 1916