O ponto de vista contemporâneo de Sebastião Salgado em relação de diálogo com o Romantismo
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Data
2019-05-31
Autores
Neves, Virgilio [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
Essa pesquisa tem por objetivo esclarecer algumas questões que cercam a obra de Sebastião Salgado. Partindo do princípio de que o olhar contemporâneo do fotógrafo busca um registro pessoal de uma realidade frágil e sofrida no Brasil e ao redor do mundo, numa espécie de crítica à era pós-revoluções industriais, o estudo procurou mostrar que há um certo romantismo nessa abordagem. As fotografias, que vão além do mero registro objetivo dos fatos, ultrapassam as fronteiras do fotojornalismo e alcançam níveis de subjetividade tão intensos que estabelecem através de suas figuras e paisagens, não apenas um diálogo sensível com o espectador, mas uma estética que se aproxima da linguagem dos pintores românticos. Para tornar mais visível e clara essa análise, optou-se por um recorte cronológico das fotografias produzidas entre 1984 e 2000, período em que o fotógrafo mostrou o ser humano como vítima de um mundo consumido pelos efeitos das revoluções industriais. Através dessas fotografias, foi traçado um percurso de pesquisa que procurou construir possíveis relações de intertextualidade com pinturas românticas do século XIX, que também encontraram na subjetividade uma forma de expressar as próprias reações à nova realidade que se formava no período. A pesquisa buscou nos valores estruturais e temáticos das fotografias e das pinturas seus pontos de convergência, usando a metodologia iconográfica e iconológica de Erwin Panofsky. Essas relações revelaram que as fotografias de Sebastião Salgado contêm uma atitude tão romântica quanto a que levou Goya, Constable, Turner, Caspar-David-Friedrich e Géricault a produzirem suas telas.
This research aims to clarify some issues surrounding the work of Sebastião Salgado. Assuming that the contemporary look of the photographer seeks a personal record of a fragile and suffered reality in Brazil and around the world, in a kind of criticism of the post-industrial revolutions era, the study tried to show that there is a certain romanticism in this approach. The research demonstrated that the photos, which go beyond the mere objective record of events, also go beyond the boundaries of photojournalism and reach such intense levels of subjectivity that they establish through their figures and landscapes, not only a sensitive dialogue with the viewer, but an aesthetics approaching the language of romantic painters. To make this analysis more visible and clear, a chronological cut of the photographs produced between 1984 and 2000 was chosen, during which the photographer showed the human being as a victim of a world consumed by the effects of industrial revolutions. Through these photographs, a research course was traced that seeks to build possible intertextual relations with 19th century romantic paintings, which also found in subjectivity a way of expressing their own reactions to the new reality that was formed in this period. The research sought the point of convergences between the structural and thematic values of photographs and paintings, using the iconographic and iconological methodology of Erwin Panofsky. These conections revealed that Sebastião Salgado's photographs contain a romantic attitude similar to the one that led Goya, Constable, Turner, Caspar-David-Friedrich and Géricault to produce their paintings.
This research aims to clarify some issues surrounding the work of Sebastião Salgado. Assuming that the contemporary look of the photographer seeks a personal record of a fragile and suffered reality in Brazil and around the world, in a kind of criticism of the post-industrial revolutions era, the study tried to show that there is a certain romanticism in this approach. The research demonstrated that the photos, which go beyond the mere objective record of events, also go beyond the boundaries of photojournalism and reach such intense levels of subjectivity that they establish through their figures and landscapes, not only a sensitive dialogue with the viewer, but an aesthetics approaching the language of romantic painters. To make this analysis more visible and clear, a chronological cut of the photographs produced between 1984 and 2000 was chosen, during which the photographer showed the human being as a victim of a world consumed by the effects of industrial revolutions. Through these photographs, a research course was traced that seeks to build possible intertextual relations with 19th century romantic paintings, which also found in subjectivity a way of expressing their own reactions to the new reality that was formed in this period. The research sought the point of convergences between the structural and thematic values of photographs and paintings, using the iconographic and iconological methodology of Erwin Panofsky. These conections revealed that Sebastião Salgado's photographs contain a romantic attitude similar to the one that led Goya, Constable, Turner, Caspar-David-Friedrich and Géricault to produce their paintings.
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Palavras-chave
Sebastião Salgado, Intertextualidade, Sebastião Salgado, Photography, Romantic painting, Intertextuality, Fotografia, Pintura romântica