O poema da pintura - relações intersemióticas no livro Poemas, de Portinari
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Data
2022-08-29
Autores
Jóe, Márcia Maria Sant'Ana
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Universidade Estadual Paulista (Unesp)
Resumo
Elegemos estudar a obra Poemas de Cândido Portinari, seu único livro de poemas publicado em 1964 originalmente sem ilustrações. A obra Poemas está dividida em 4 partes ou seções: “O menino e o povoado”, “Aparições”, “A revolta” e “Uma prece”. Os temas de Portinari-pintor e Portinari-poeta são os mesmos: os temas do Portinari-poeta lembram os temas do Portinari-pintor, quando se referem às alegrias e medos da infância em Brodósqui. Realizamos uma análise comparativa entre as três edições disponíveis da obra, quanto a alterações de diagramação, de versos, acréscimo de manuscritos, fotos e pinturas. Elegemos um recorte de poemas da seção de “O menino e o povoado”, a maior entre as três seções, “Aparições” e “A Revolta”. O objetivo foi de estudar o diálogo dos poemas de Cândido Portinari com o processo de composição de suas obras plásticas, pesquisando as relações estéticas entre essas diferentes linguagens, tendo como instrumento de análise a semiótica greimasiana, especialmente os conceitos de enunciação, figuratividade, semiótica figurativa e a plástica e questões próprias da poética: ritmo, rima e distribuição espacial das palavras. Também estudamos a aproximação do poeta com os grupos de artistas e analisamos sobretudo, o ineditismo da poesia de Portinari, sua filiação ao Movimento Modernista, e também avaliamos se tais dados podem configurar uma poética que se aproxime das pinturas de Portinari. Esperamos que esse estudo possa despertar e inspirar outras pesquisas acerca da poética de Portinari e contribuir para o desenvolvimento de reflexões pertinentes no que se refere aos procedimentos comuns entre as artes.
We elected to study the work “Poemas” by Cândido Portinari, his single book of poems published originally in 1964 without illustrations. The work “Poemas” is divided into 4 parts or sections: “O menino e o povoado”, “Aparições”, “A revolta” and “Uma prece”. The themes of painter-Portinari and poet-Portinari are the same: the themes of poet-Portinari remind the ones of the painter-Portinari, when they refer to the joys and fears of the times in Brodósqui. We carried out a comparative analysis between the three editions available in the work, regarding alterations in diagramming, verses, manuscripts addition, photos and paintings. We elected a clipping from the section of “O menino e o povoado”, the biggest in the three sections, “Aparições” and “A Revolta”. The objective was to study the dialogue of Cândido Portinari’s poems and the composition process of his plastic works, researching the aesthetic relations among these different languages, using Greimasian semiotics as an instrument of analysis, especially the concepts of enunciation, figurativeness, figurative and plastic semiotics and issues specific to the poetics: rhythm, rhyme and spatial distribution of words. We also studied the poet’s approach to groups of artists and we analyzed, above all, the originality of Portinari's poetry, his affiliation to the Modernist Movement, and we also evaluated whether such data can configure a poetics that approached Portinari’s paintings. We hope that this study can awaken and inspire further research on Portinari’s poetics and contribute to the development of pertinent reflections in relation to the common procedures between the arts.
We elected to study the work “Poemas” by Cândido Portinari, his single book of poems published originally in 1964 without illustrations. The work “Poemas” is divided into 4 parts or sections: “O menino e o povoado”, “Aparições”, “A revolta” and “Uma prece”. The themes of painter-Portinari and poet-Portinari are the same: the themes of poet-Portinari remind the ones of the painter-Portinari, when they refer to the joys and fears of the times in Brodósqui. We carried out a comparative analysis between the three editions available in the work, regarding alterations in diagramming, verses, manuscripts addition, photos and paintings. We elected a clipping from the section of “O menino e o povoado”, the biggest in the three sections, “Aparições” and “A Revolta”. The objective was to study the dialogue of Cândido Portinari’s poems and the composition process of his plastic works, researching the aesthetic relations among these different languages, using Greimasian semiotics as an instrument of analysis, especially the concepts of enunciation, figurativeness, figurative and plastic semiotics and issues specific to the poetics: rhythm, rhyme and spatial distribution of words. We also studied the poet’s approach to groups of artists and we analyzed, above all, the originality of Portinari's poetry, his affiliation to the Modernist Movement, and we also evaluated whether such data can configure a poetics that approached Portinari’s paintings. We hope that this study can awaken and inspire further research on Portinari’s poetics and contribute to the development of pertinent reflections in relation to the common procedures between the arts.
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Palavras-chave
Portinari, Pintura, Poesia, Semiótica, Modernismo, Portinari, Painting, Poetry, Semiotics, Modernism