A pintura ilusionista no meio norte de Minas Gerais - Diamantina e Serro - e em São Paulo - Mogi das Cruzes (Brasil)
Carregando...
Arquivos
Data
2012-08-30
Autores
Pereira, Danielle Manoel dos Santos [UNESP]
Título da Revista
ISSN da Revista
Título de Volume
Editor
Universidade Estadual Paulista (Unesp)
Resumo
Esta dissertação analisa e compara as pinturas coloniais da região de Diamantina e do Serro, no meio-norte de Minas Gerais, com as pinturas do forro da Igreja da Ordem Terceira do Carmo de Mogi das Cruzes, em São Paulo. Os estudos desenvolvidos procuram avaliar as possibilidades de influência, ainda que apenas visual, dessas pinturas mineiras sobre as obras paulistas. As obras da rota do Serro (MG) são classificadas como pertencentes aos ciclos barroco e rococó da pintura mineira. São obras destacadas no panorama artístico por seus efeitos ilusionistas, a arquitetura e a pintura se integram aos forros das construções, criando arquiteturas fantasiosas em direção ao céu ou apresentando-nos uma visão celestial, que arrebata o espectador. As pinturas carmelitas de Mogi das Cruzes possuem visualmente uma relação muito intensa com as obras mineiras, o que indica as trocas artísticas ocorridas entre os pintores. Documentos levantados em arquivos mineiros possibilitaram identificar diversos dados sobre as obras que foram utilizadas para a análise: informações a respeito de sua construção e, principalmente, a identificação dos pintores que realizaram as obras mogianas. Dos artistas que realizaram as obras em São Paulo, não há em Diamantina ou no Serro nenhum documento que revele sua passagem pela região, mas isso não afasta a influência que se nota quando comparamos os elementos formais e constitutivos dessas obras. Essas são pinturas diferenciadas na arte colonial paulista, não encontram pares no território ao qual estão circunscritas e, por isso mesmo, devem ser preservadas e destacadas na história da arte nacional
This dissertation analyzes and compares the colonial paintings from the region of Diamantina and Serro in mid-north of Minas Gerais with paintings on the ceiling of the Church of the Third Order of Mogi das Cruzes’ Carmo in Sao Paulo. The studies carried out look to evaluate the possibilities of influence, even if only visual, of these paintings from Minas Gerais with the paintings in São Paulo. The paintings from Rota do Serro (MG) are classified as belonging to the cycles of the Baroque and Rococo painting from Minas Gerais. They are paintings that stands out in the art scene, where the architecture and the paintings integrate with the buildings ceiling, creating fanciful architectures toward the sky or showing us a heavenly vision, which grabs the viewers attention. The paintings from the Carmelites of Mogi das Cruzes have, visually, an intense relationship with the paintings of Minas Gerais, which indicates the artistic exchanges that took place among the painters. Documents collected from Minas Gerais’ archives helped to identify various data regarding the paintings that were used for analysis, information regarding the construction of paintings and especially the identification of the artists who worked on the mogianas paintings. From the artists who worked on the paintings in Sao Paulo, there is not, in Diamantina nor in the Serro any document that reveals its passage through the region, but this does not rule out the influence when comparing the formal and constituent elements of these works. These unique paintings of the colonial art in São Paulo, and wich there are no matching pairs in the territory to which they are confined, should be preserved and highlighted in the history of national art
This dissertation analyzes and compares the colonial paintings from the region of Diamantina and Serro in mid-north of Minas Gerais with paintings on the ceiling of the Church of the Third Order of Mogi das Cruzes’ Carmo in Sao Paulo. The studies carried out look to evaluate the possibilities of influence, even if only visual, of these paintings from Minas Gerais with the paintings in São Paulo. The paintings from Rota do Serro (MG) are classified as belonging to the cycles of the Baroque and Rococo painting from Minas Gerais. They are paintings that stands out in the art scene, where the architecture and the paintings integrate with the buildings ceiling, creating fanciful architectures toward the sky or showing us a heavenly vision, which grabs the viewers attention. The paintings from the Carmelites of Mogi das Cruzes have, visually, an intense relationship with the paintings of Minas Gerais, which indicates the artistic exchanges that took place among the painters. Documents collected from Minas Gerais’ archives helped to identify various data regarding the paintings that were used for analysis, information regarding the construction of paintings and especially the identification of the artists who worked on the mogianas paintings. From the artists who worked on the paintings in Sao Paulo, there is not, in Diamantina nor in the Serro any document that reveals its passage through the region, but this does not rule out the influence when comparing the formal and constituent elements of these works. These unique paintings of the colonial art in São Paulo, and wich there are no matching pairs in the territory to which they are confined, should be preserved and highlighted in the history of national art
Descrição
Palavras-chave
Arte sacra - Minas Gerais, Arte sacra - São Paulo, Pintura, Arte barroca, Pintura colonial, Christian art and symbolism, Painting, Painting, Colonial
Como citar
PEREIRA, Danielle Manoel dos Santos. A pintura ilusionista no meio norte de Minas Gerais - Diamantina e Serro - e em São Paulo - Mogi das Cruzes (Brasil). 2012. 233 f. Dissertação (mestrado) - Universidade Estadual Paulista, Instituto de Artes, 2012.