Chevrolet Tracker 1.0 PCD 2020, Brasil

Chevrolet Tracker 1.0 PCD 2020, Brasil
Fotografia

O novo Chevrolet Tracker 1.2 turbo já mostrou que não chegou para brincar. Concentrando 80% das vendas, a configuração mais potente do SUV compacto tem exercido papel fundamental para colocar o modelo entre os líderes do segmento de SUVs compactos.

Mas e quem não liga tanto para o desempenho e prefere pagar menos por uma versão 1.0 turbo, dotada do mesmo motor três-cilindros flex de 116 cv de Onix e Onix Plus, estará bem servido?

Para responder essa pergunta testamos uma unidade da versão 1.0 turbo automática voltada a clientes PcD, custando R$ 70.000 sem isenções.

Se existia alguma preocupação em relação ao desempenho do modelo equipado com o propulsor mais fraco, ela acabou logo após nossa experiência a bordo. A diferença para o Tracker 1.2 no 0 a 100 km/h em nossa pista de testes foi pequena: 11,3 s para 10,1 s.

Na verdade, o resultado aferido é igual ao do VW T-Cross 200 TSI, superando rivais como Nissan Kicks 1.6 (11,9 s), Hyundai Creta 1.6 (12,6 s) e Jeep Renegade 1.8 (15,3 s).

No uso prático, o novo Tracker 1.0 turbo demonstrou fôlego suficiente para arrancar, retomar e subir ladeiras um bocado íngremes sem dar nenhum suspiro de lamentação.

Mas não espere a mesma agilidade de um Onix ou Onix Plus: os mais de 100 kg extras de peso, além dos 6 e 15 cm a mais de largura e altura, respectivamente, cobram a conta nessa hora.

Por isso mesmo, o câmbio automático de seis marchas demonstra dificuldade para entender o momento mais adequado para as reduções no SUV do que no hatch ou no sedã.

Só que uma característica não mudou: assim como nos dois Onix, no Tracker 1.0 também sentimos soquinhos na hora de arrancar com o veículo ainda frio. Já no SUV equipado com motor 1.2 isso não aconteceu em nenhuma de nossas avaliações.

Em muitos aspectos, o Tracker 1.0 lembra demais os dois irmãos de plataforma. A começar pela pegada esportiva ao volante (que não tem base achatada, como na versão Premier, mas ainda preserva a empunhadura agradável), passando pelas boas respostas do acelerador e por aquelas não tão diretas assim dos freios, dotados de discos ventilados na dianteira e tambores na traseira.

Na versão testada, o Tracker 1.0 possui bancos de tecido e acabamento mais simples (sem preto brilhante no console central ou revestimentos de couro), além de ceifar itens como o piloto automático adaptativo, o alerta de ponto cego, o carregador de celular sem fio e o teto solar.

Com isso, a sensação é a de estar em um carro “da vida real”, como é a maioria das versões de Onix e Onix Plus. Aqui vale um adendo: talvez seja uma questão psicológica, mas o ambiente interno menos rebuscado parece ressaltar limitações do acabamento, como a capa interna das colunas A não tão bem encaixada assim.

Mas, no geral, as peças possuem montagem correta e tão bem alinhada quanto as do Tracker Premier. Já a central MyLink 3 de 8 polegadas é rápida e intuitiva, mas tem dificuldade, seja no Onix ou no Tracker, de projetar celular sem uso de cabo original.

Em outros aspectos, o Tracker 1.0 demonstra estar em um patamar que Onix e Onix Plus jamais serão capazes de alcançar. Por exemplo, o nível de invasão do ruído do motor na cabine, embora ainda relativamente alto para os padrões de um SUV, passa longe do que se ouve dentro do hatch ou do sedã.

Escuta-se o motor enchendo nas retomadas, fato, mas não o zumbido da turbina que é tão presente nos dois irmãos. As vibrações proporcionadas pelo três-cilindros também ficam mais contidas no Tracker do que na família Onix, mas ainda estão aquém do que se sente em um T-Cross 200 TSI.

O vão livre do solo (15,7 cm) e o ângulo de ataque (17°, fruto da aplicação de um defletor aerodinâmico na base do para-choque dianteiro) também são baixos para um utilitário esportivo, mas bons o suficiente para que se passe por valetas sem o mesmo medo que um dono de Onix tem de raspar o assoalho.

As suspensões são muito mais suaves e menos ruidosas, apesar de ainda estarem um pouco mais secas e barulhentas do que se encontra em rivais como Creta e Renegade. Já os bancos dianteiros acomodam pernas, costas e cabeça de modo bem mais ergonômico, minimizando a sensação de cansaço ou desconforto ao término da jornada.

Na parte traseira, apesar do entre-eixos de 2,57 m, 3 cm a menos do que o Onix Plus, o vão para pernas surpreende de tão generoso.

Para uma versão PcD, o Tracker é bem equipado: seis airbags, ESC, DRL de led, chave presencial, partida por botão, start-stop, rodas de liga leve, ar-condicionado e vidros um toque nas quatro portas. Em custo/benefício, um pacote imbatível.

O Tracker 1.0 turbo é mais simples e tem desempenho um pouco mais módico do que o 1.2, mas ainda é bem equipado e anda melhor que muitos rivais. Sem dúvida, uma opção voltada ao custo/benefício.
Nota do blog: Tem um bom motor e visual. Mas o acabamento é péssimo. Excesso de peças plásticas, especialmente nas versões de entrada. Faz barulho em excesso ao passar por buracos ou depressões, parece uma sinfonia...

Ilha de Santa Catalina, Califórnia, Estados Unidos (Catalina Island) - Granville Redmond

Ilha de Santa Catalina, Califórnia, Estados Unidos (Catalina Island) - Granville Redmond
Estado da Califórnia - Estados Unidos
OST

Flores Silvestres (Wildflowers in Bloom) - Granville Redmond

Flores Silvestres (Wildflowers in Bloom) - Granville Redmond
Coleção privada
Óleo sobre tela esticado em placa

Dia Nublado no Vale do Antílope, Estado da Califórnia, Estados Unidos (Haze Day in Antelope Valley) - Granville Redmond

Dia Nublado no Vale do Antílope, Estado da Califórnia, Estados Unidos (Haze Day in Antelope Valley) - Granville Redmond
Estado da Califórnia - Estados Unidos
Coleção privada
OST - 1932

Granville Redmond was stricken with scarlet fever when he was two years old. He lost his hearing, but was fortunate to maintain his eyesight. It has often been suggested that Redmond's hearing loss gave his paintings a particularly quiet and peaceful effect.
From 1910 to 1917, Granville Redmond lived and painted in a variety of Northern California locations. It was some time during this period that Redmond turned to painting his renowned, highly colorful wildflower compositions. There were undoubtedly wildflowers galore in the spring months throughout the California countryside and Redmond must have found it difficult not to incorporate these bright colors into his landscapes. As with many of the painters of the day, Redmond's style was influenced by the French and East Coast Impressionists. West Coast critics noted his use of Pointillism and likened his art to that of Claude Monet and Camille Pissarro.
By the 1920s the promotion of California as a tourist destination was in full swing. Advertisers used images of bountiful orange groves and fields of wildflowers to show off the beauty of the sunshine state and encourage visitors. Redmond's paintings were used as part of this promotion and soon his works were recognized across the country. Interest by dealers in his wildflower paintings rose quickly and the artist found it difficult to keep up with the demand.
In 1917 Redmond moved back to Southern California, in part to try out his pantomime skills in Hollywood. He became friends with Charlie Chaplin and even assisted him in training for The Little Tramp. Redmond had a studio on Chaplin's lot and appeared in some of his films, most notably as the white-haired sculptor in City Lights.
Redmond also maintained a studio in rustic Topanga Canyon around this time, and in the last decades of his life, his sunny scenes of Southern California remained popular with collectors as Impressionism remained in vogue in California long after it had been displaced by other styles elsewhere.
Hazy Day in the Antelope Valley depicts a scene from the western Mojave Desert. Each spring this high desert environment comes alive with a seasonal mosaic of color. The flowers in the foreground are composed of meticulous dabs of paint with crisp points of impasto highlighting bunches of orange and yellow wildflowers. The Pointillist influence on the flowers contrasts with the smoother Impressionist-style tonal shifts in the faint purple mountains in the distance. Redmond masterfully captures the scattered shadows cast from the clouds on the landscape by superimposing delicate areas of darker green and blue hues. Much like his 19th century predecessors' depictions of the Yosemite Valley, Redmond's painting Hazy Day in the Antelope Valley deliberately invites one to visit if for no other reason than to gauge his artistic license.

Papoulas e Carvalhos da Califórnia, Estados Unidos (California Poppies and Oaks) - Granville Redmond

Papoulas e Carvalhos da Califórnia, Estados Unidos (California Poppies and Oaks) - Granville Redmond
Estado da Califórnia - Estados Unidos
Coleção privada
OST - 1912

One of California's first resident Impressionist painters, Granville Redmond, is best known for his atmospheric and floral landscapes of California. As a young child, Redmond was stricken with scarlet fever leaving him deaf by age three. After moving with his family to San Jose, California about 1874, he attended the Berkeley School for the Deaf during his formative years from 1879-90. Here, Redmond was greatly influenced by Theophilus D'Estrella who taught him painting, drawing, pantomime, and encouraged him in his art studies. In 1890, Redmond enrolled at the Mark Hopkins Institute in San Francisco studying for three years under Arthur Mathews and Amedee Joullin. He won the W. E. Brown medal of excellence, and in 1893 was awarded endowment funds from the California School of the Deaf that enabled him to continue his art studies at the Academie Julian in Paris under Jean Paul Laurens and Benjamin Constant. Redmond blended the styles of his mentors and the influences of other artists into his own unique vision. As with many painters of the day, Redmond's style was highly influenced by the French and East Coast Impressionists. West Coast critics noted his use of Pointillism and likened his art to that of Claude Monet and Camille Pissarro. In 1917 Redmond moved back to Southern California, in part to try out his pantomime skills in Hollywood. He became friends with Charlie Chaplin and even assisted him in training for The Little Tramp. Redmond had a studio on Chaplin's lot and eventually appeared in seven of Chaplin's films, most notably as the white-haired sculptor in City Lights. As his friend Chaplin said in an interview: 'Redmond paints solitude, and yet by some strange paradox the solitude is never loneliness...sometimes I think that the silence in which he lives has developed in him some great capacity for happiness in which we others are lacking.'
In this painting, California Poppies and Oaks, 1912, we see Redmond's quintessential subject. The painting captures the solitude that Chaplin so admired. The composition invites the viewer into quiet contemplation of a lovely interplay of color and form. Drawing on the rounded contours of the oaks, Redmond echoes these forms in the puffy clouds, which enlivens the blue sky. The viewers' eye is centered within the green of the foreground and mid-ground by the concentrated orange and yellow splashes of the painter's brush. The flowers nestle just beneath the stand of oaks, ostensibly the focus of the picture. Redmond enables the viewer to take small journeys into the landscape: in the foreground a modest area of saturated blue water beneath the shadow of a bush draws attention and above and to the left on the horizon is the one break in the trees which affords a distant view of purple hills. California Poppies and Oaks demonstrates Redmond's mastery of his subject and the subtle technique which cemented his fame.

Vale do Antílope, Estado da Califórnia, Estados Unidos (Antelope Valley) - Granville Redmond

Vale do Antílope, Estado da Califórnia, Estados Unidos (Antelope Valley) - Granville Redmond
Estado da Califórnia - Estados Unidos
Coleção privada
OST

Granville Redmond is one of only a few California artists, who in spite of challenging life circumstances, worked prolifically in the artistic centers of San Francisco, Monterey, and Los Angeles to great acclaim. In his late twenties, he attended the California School for the Deaf in Berkeley, California, where he first began his formal artistic training. Following graduation, he was awarded a scholarship to study at the California School of Design, the school founded by the San Francisco Art Association. His teachers there included the Tonalist painters Arthur Mathews and Amédée Joullin. In 1893, Redmond first traveled to France to study at the Académie Julian, and over the next four years, he studied in Paris, on the Brittany coast, and Moret near Fontainebleau. He fell in love with the French landscape and was determined to exhibit at the Paris Salon. Had he not received an urgent call to return home from his family, Redmond would have remained there longer. In 1898, Redmond returned to California and settled in Los Angeles, which was the start of his career in the Southland. He continued to exhibit in San Francisco, but soon embraced the Southern California landscape, conceding that its 'scenery excels that of France.' He often painted scenes in and around Laguna Beach, Catalina Island, and San Pedro. By 1905, Redmond was receiving considerable recognition as a leading landscape painter and bold colorist throughout the state.
Granville Redmond was best-regarded then, as he is today, for his verdant wildflower landscapes, and the present work is a prime example depicting a vigorous bloom of poppies, lupine, and mustard. The Antelope Valley is known throughout all of California for its showy desert blooms, and Redmond painted this historic locale on several occasions. The spectacularly sunlit and dappled landscape suited Redmond's technique well, where his meticulous brushwork activates the foreground. As a compositional technique, Redmond favored the rule of thirds, where either the sky or foreground would offer a visual release. In the present work, the looser brushwork in the sky provides a welcome respite to the dazzling display below.

Flores Silvestres à Beira do Lago (Lakeside Wildflowers) - Granville Redmond

Flores Silvestres à Beira do Lago (Lakeside Wildflowers) - Granville Redmond
Coleção privada
OST

From 1910 to 1917, Granville Redmond lived and painted in a variety of Northern California locations. It was some time during this period that Redmond turned to painting his renowned, highly colorful wildflowers compositions. There were undoubtedly wildflowers galore in the Spring months throughout the California countryside, and Redmond must have found it difficult not to incorporate the colors into his landscapes. As with many of the painters of the day, Redmond's style was influenced by the French and East Coast Impressionists. West Coast critics of the day noted his use of Pointillism and likened his art to that of Claude Monet and Camille Pissarro.
By the 1920's the promotion of California as a destination was in full swing. Advertisers used images of bountiful orange groves and fields of wildflowers to show off the beauty of the sunshine state and encourage visitors. Redmond's paintings were used as part of this promotion and soon his works were recognized across the country. Interest by dealers for his wildflower paintings rose quickly and the artist found it difficult to keep up with the demand.
In 1917 Redmond moved back to Southern California, in part to try out his pantomime skills in Hollywood. He became friends with Charlie Chaplin and even assisted him in training for The Little Tramp. Redmond had a studio on Chaplin's lot and even appeared in some of his films, most notably as the white haired sculptor in City Lights.
Redmond also maintained a studio in rustic Topanga Canyon around this time, and in the last decades of his life, his sunny scenes of Southern California remained popular with collectors as Impressionism remained in vogue in California long after it had been displaced by other styles elsewhere.
Lakeside Wildflowers is a classic example of Redmond's quintessential style and bold use of color and atmosphere. Drawing on the contours of the California hills, Redmond fills the canvas with Pointillist dabs of bright color throughout the composition. The result is an iconic example of the best in plein air painting. This speaks to why Granville Redmond stands as one of the top artists in this arena.

Na Floresta de Outono (In the Autumn Forest) - Thomas Kinkade

Na Floresta de Outono (In the Autumn Forest) - Thomas Kinkade
Coleção privada
Óleo sobre masonite - 1982

Papoulas e Tremoços (Poppies and Lupine) - Granville Redmond

Papoulas e Tremoços (Poppies and Lupine) - Granville Redmond
Coleção privada
OST - 1914

Granville Redmond is one of only a few California artists, who in spite of challenging life circumstances, worked prolifically in the artistic centers of San Francisco, Monterey, and Los Angeles to great acclaim. In his late twenties he attended the California School for the Deaf in Berkeley, California, where he first began his formal artistic training. Following graduation, he was awarded a scholarship to study at the California School of Design, the school founded by the San Francisco Art Association. His teachers there included the Tonalist painters Arthur Mathews and Amédée Joullin. In 1893, Redmond first traveled to France to study at the Académie Julian and over the next four years he studied in Paris, on the Brittany coast and Moret near Fontainebleau. He fell in love with the French landscape and was determined to exhibit at the Paris Salon. Had he not received an urgent call to return home from his family, Redmond would have remained there longer.
In 1898, Redmond returned to California and settled in Los Angeles which was the start of his career in the Southland. He continued to exhibit in San Francisco but soon embraced the Southern California landscape, conceding that its 'scenery excels that of France.' He often painted scenes in and around Laguna Beach, Catalina Island and San Pedro. By 1905, Redmond was receiving considerable recognition as a leading landscape painter and bold colorist throughout the state.
Granville Redmond was best regarded then, as he is today, for his verdant wildflower landscapes, and the present work is a prime example of his talents as the leader in painting elegant depictions of California wildflowers. The sunlit and dappled California Spring landscape suited Redmond's technique well, where his meticulous brushwork could be utilized in every object and color within his paintings. As a compositional technique, Redmond favored the rule of thirds, where the scene is separated into foreground, middle ground and sky. In this painting, simply titled Poppies and Lupine, the viewer's eye is drawn deep into the landscape, viewing the wildflowers along the way, then into a detailed grove of rolling oak trees until eventually reaching the sky. This gives the scene a marvelous depth to its perspective and results in a balanced and brilliant California landscape. Poppies and Lupine is immediately symbolic of the tradition in early California plein air painting and distinguished Granville Redmond as one of the top Impressionist painters.

Ondas na Praia (Waves on the Shore) - Granville Redmond

Ondas na Praia (Waves on the Shore) - Granville Redmond
Coleção privada
Óleo sobre placa - 1918