Galocha Cultural

sábado, 12 de março de 2022

Foz do Rio Tamanduateí, 1948, São Paulo, Brasil

Foz do Rio Tamanduateí, 1948, São Paulo, Brasil
São Paulo - SP
Fotografia

Vista do Santuário do Bom Jesus de Matosinhos, Congonhas, Minas Gerais, Brasil

Congonhas - MG

Fotografia

Rua Álvares Cabral, Ribeirão Preto, São Paulo, Brasil

Rua Álvares Cabral, Ribeirão Preto, São Paulo, Brasil
Ribeirão Preto - SP
Foto Esporte

Fotografia - Cartão Postal

Nota do blog: Podemos notar na imagem que a mão de direção da Álvares Cabral era o contrário da atual.

Hipódromo e Ground, Rio Vermelho, Salvador, Bahia, Brasil

Hipódromo e Ground, Rio Vermelho, Salvador, Bahia, Brasil
Salvador - BA
Fotografia - Cartão Postal

Pensador (Penseur) - Auguste Rodin

Pensador (Penseur) - Auguste Rodin
Coleção privada
Estátua

Now recognised as one of the most famous images in the history of western art, Rodin’s Penseur was first conceived as part of his monumental Gates of Hell. The figure was intended to represent Dante, surrounded by the characters of his Divine Comedy, but soon took on an independent life. ‘Thin and ascetic in his straight gown,’ Rodin wrote later, ‘my Dante would have been meaningless once divorced from the overall work. Guided by my initial inspiration, I conceived another "thinker", a nude, crouching on a rock, his feet tense. Fists tucked under his chin, he muses. Fertile thoughts grow slowly in his mind. He is no longer a dreamer. He is a creator’ (Rodin, quoted in Raphaël Masson & Véronique Mattiussi, Rodin, Paris, 2004, p. 38). Transcending Dante's narrative, Penseur became a universal symbol of reflection and creative genius.
Rodin envisaged Penseur to be the apex, both structurally and philosophically, of his Gates of Hell. As Camille Mauclair noted in 1898, ‘All the sculptural radiance ends in this ideal center. This prophetic statue can carry in itself the attributes of the author of the Divine Comedy, but it is still more completely the representation of Penseur. Freed of clothing that would have made it a slave to a fixed time, it is nothing more than the image of the reflection of man on things human. It is the perpetual dreamer who perceives the future in the facts of the past, without abstracting himself from the noisy life around him and in which he participates’ (C. Mauclair, ‘L'Art de M. Rodin’, in La Revue des Revues, 18th June 1898).
The larger size of this model was conceived in 1880-81, and was first exhibited in Copenhagen in 1888. The following year it was shown in Paris, with the original title Dante revised to read Le penseur: le poète. The figure was discussed by the artist shortly before his death, when he described his desire to personify the act of thinking: ‘Nature gives me my model, life and thought; the nostrils breathe, the heart beats, the lungs inhale, the being thinks and feels, has pains and joys, ambitions, passions, emotions... What makes my Thinker think is that he thinks not only with his brain, with his knitted brow, his distended nostrils and compressed lips, but with every muscle of his arms, back and legs, with his clenched fist and gripping toes’ (quoted in Saturday Night, Toronto, 1st December 1917).

Nota do blog: Modelo pequeno.

O Grito (Skrik / The Scream) - Edvard Munch

O Grito (Skrik / The Scream) - Edvard Munch
Coleção privada
Litografia - 1895

"In Munch’s hands the decorative line became a powerful synesthetic equivalent for the reverberating scream that slices through the landscape. He imbued the stark black lines and white voids with such a sense of urgency and utter bleakness that the black and white scene is as shocking and disturbing as the painting."
Elizabeth Prelinger & Michael Parke-Taylor, The Symbolist Prints of Edvard Munch: The Vivian and David Campbell Collection (exhibition catalogue), Toronto, 1997, p. 98.
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 analysed, reproduced, referenced, interpreted and commercialised more often than perhaps any picture bar Leonardo's Mona Lisa. Since its creation in the 1890s The Scream has become 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 earliest known studies relating to The Scream are a series of drawings dating from the early 1890s. These works culminated in the 1892 painting Despair, which depicts the artist leaning against a railing and looking out onto the expanse of nature before him.
Describing his personal experience, Munch wrote the following text to accompany this image: 'I walked with two friends. Then the sun sank. Suddenly the sky turned as red as blood, and I felt a touch of sadness. I stood still, and leant against the railings. Above the bluish-black fjord and above the city the sky was like blood and flames. My friends walked on, and I was left alone, trembling with fear. I felt as if all nature were filled with one mighty unending shriek' (Timm Werner, The Graphic Art of Edvard Munch, London, 1973, p. 69).
In one sketch for Despair, Munch redirects the gaze of his central figure, so rather than contemplating the scene beyond the railing, the head is rotated to look instead at the viewer. From here it is likely that Munch derived the inspiration for his first and most well-known realisation of The Scream, painted in 1893. Here, the increasingly confrontational central figure elicits a more immediate and expressive reaction from its audience than its predecessor. Gerd Woll describes this painting as follows: ‘The Scream is not only Munch’s most famous painting today but it is also perhaps the most famous visual motif in the entire history of European art’ (G. Woll, Edvard Munch: A Genius of Printmaking, Zurich, 2013, p. 177).
Between 1893 and 1910 Munch created three additional coloured renditions of The Scream, and in 1895, the artist executed the motif as a monochromatic lithograph. While Munch’s creation of The Scream lithograph would have been motivated, at least in part, by a desire to disseminate his painted image more widely, no formal edition of the print was ever published. Furthermore, Ina Johannesen explains that after creating his lithographic image, Munch left the stone with his printer in Berlin. Before the artist’s return, the stone had been ground down. Any further impressions were thus impossible, meaning that ‘only a small number of the lithographs exist’ (I. Johannesen, Edvard Munch: 50 Graphic Works from the Gundersen Collection (exhibition catalogue), op. cit., p. 50).
It was typical of Munch’s practice to investigate a recurring image in both painted and printed media, usually to divergent yet equally potent ends. In this graphic interpretation, the artist succinctly recaptures the emotional impact of his colourful, painted works. Indeed here, the uniformity in colour gives the image a cohesive, even iconic quality, which is further enhanced by the single word 'Geschrei' ('Scream'), printed in the lower centre of the sheet below the composition. In comparing the 1893 painting and the 1895 lithograph of the subject, Elizabeth Prelinger and Michael Parke-Taylor explain: ‘The painting of The Scream depends largely for its psychological effects on Munch’s use of expressive Symbolist color... [Comparatively] in the lithograph Munch transformed all those powerful hues into simple black and white contrasts. It is an extraordinary achievement. Here, sinuous lines, stark oppositions of value, and ingenious play of figure and void combine in an image that, like Munch’s other graphic restatements of his painted motifs, is not a mere translation from one medium to another but is a reformulation of a theme into another visual language that carries its own syntax and meanings’ (E. Prelinger & M. Parke-Taylor, The Symbolist Prints of Edvard Munch: The Vivian and David Campbell Collection (exhibition catalogue), op. cit., p. 98).