THE SACRED IN THE WORK OF ANTÔNIO BANDEIRA

Detalhes bibliográficos
Autor(a) principal: Lopes, Almerinda da Silva
Data de Publicação: 1997
Tipo de documento: Artigo
Idioma: por
Título da fonte: Estudos Ibero-Americanos
Texto Completo: https://revistaseletronicas.pucrs.br/index.php/iberoamericana/article/view/28275
Resumo: He is considered as one of the first artists to use the Informal Abstraction in Brazil, after his first period participating in the second School of Paris (1946-1951); however, the artistic production of this artist was kept in permanent transit between the figurative and non-geometric branch of the abstraction and between the informal abstraction and the geometric abstraction. And differently from other followers of the informalism, Antônio Bandera kept on giving titles to his works, mainly to the trees and the cathedrals, in which he makes evident mythical and religious singularities. In special through the cathedrals, he ventures on a kind of revisiting of themes similar to those of Paul Klee, Mondrian and Pollock, which are reprocessed, re-coded and updated by him.
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spelling THE SACRED IN THE WORK OF ANTÔNIO BANDEIRALO SAGRADO EN LA OBRA DE ANTÔNIO BANDEIRAO SAGRADO NA OBRA DE ANTÔNIO BANDEIRAHe is considered as one of the first artists to use the Informal Abstraction in Brazil, after his first period participating in the second School of Paris (1946-1951); however, the artistic production of this artist was kept in permanent transit between the figurative and non-geometric branch of the abstraction and between the informal abstraction and the geometric abstraction. And differently from other followers of the informalism, Antônio Bandera kept on giving titles to his works, mainly to the trees and the cathedrals, in which he makes evident mythical and religious singularities. In special through the cathedrals, he ventures on a kind of revisiting of themes similar to those of Paul Klee, Mondrian and Pollock, which are reprocessed, re-coded and updated by him.Él es considerado como uno de los primeros artistas en utilizar la Abstracción Informal en Brasil, después de su primer período participando en la segunda Escuela de París (1946-1951); sin embargo, la producción artística de este artista se mantuvo en tránsito permanente entre la figuración y la rama no geométrica de la abstracción y entre la abstracción informal y la abstracción geométrica. Y a diferencia de otros seguidores del informalismo, Antonio Bandeirase mantuvo en dar títulos a sus obras, principalmente a los árboles y las catedrales, en el que hace evidente singularidades míticas y religiosas. En especial a través de las catedrales, se aventura en una especie de volver a revisar los temas similares a los de Paul Klee, Mondrian y Pollock, que son transformados de nuevo, recodificados y actualizados por él.Ele é considerado como um dos primeiros artistas a usar a Abstração Informal no Brasil, depois de seu primeiro período de participar na segunda Escola de Paris (1946-1951); no entanto, a produção artística deste artista foi mantida em trânsito permanente entre o figurativo e o ramo não geométrico da abstração e entre a abstração informal ea abstração geométrica. E diferentemente de outros seguidores do informalismo, Antônio Bandeira continuou dando títulos de suas obras, principalmente para as árvores e as catedrais, nas quais ele faz singularidades míticas e religiosas evidentes. Em especial através das catedrais, ele se aventura em uma espécie de revisitação de temas semelhantes aos de Paul Klee, Mondrian e Pollock, que são reprocessados, recodificados e atualizados por ele.Editora da PUCRS - ediPUCRS1997-12-31info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionAvaliado por Paresapplication/pdfhttps://revistaseletronicas.pucrs.br/index.php/iberoamericana/article/view/2827510.15448/1980-864X.1997.2.28275Estudos Ibero-Americanos; Vol. 23 No. 2 (1997); 71-82Estudos Ibero-Americanos; Vol. 23 Núm. 2 (1997); 71-82Estudos Ibero-Americanos; v. 23 n. 2 (1997); 71-821980-864X0101-406410.15448/1980-864X.1997.2reponame:Estudos Ibero-Americanosinstname:Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)instacron:PUC_RSporhttps://revistaseletronicas.pucrs.br/index.php/iberoamericana/article/view/28275/15844Copyright (c) 2017 Almerinda da Silva Lopeshttps://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessLopes, Almerinda da Silva2019-10-30T19:11:33Zoai:ojs.revistaseletronicas.pucrs.br:article/28275Revistahttps://revistaseletronicas.pucrs.br/index.php/iberoamericanaPRIhttps://revistaseletronicas.pucrs.br/index.php/iberoamericana/oaieditora.periodicos@pucrs.br||eia@pucrs.br1980-864X0101-4064opendoar:2019-10-30T19:11:33Estudos Ibero-Americanos - Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)false
dc.title.none.fl_str_mv THE SACRED IN THE WORK OF ANTÔNIO BANDEIRA
LO SAGRADO EN LA OBRA DE ANTÔNIO BANDEIRA
O SAGRADO NA OBRA DE ANTÔNIO BANDEIRA
title THE SACRED IN THE WORK OF ANTÔNIO BANDEIRA
spellingShingle THE SACRED IN THE WORK OF ANTÔNIO BANDEIRA
Lopes, Almerinda da Silva
title_short THE SACRED IN THE WORK OF ANTÔNIO BANDEIRA
title_full THE SACRED IN THE WORK OF ANTÔNIO BANDEIRA
title_fullStr THE SACRED IN THE WORK OF ANTÔNIO BANDEIRA
title_full_unstemmed THE SACRED IN THE WORK OF ANTÔNIO BANDEIRA
title_sort THE SACRED IN THE WORK OF ANTÔNIO BANDEIRA
author Lopes, Almerinda da Silva
author_facet Lopes, Almerinda da Silva
author_role author
dc.contributor.author.fl_str_mv Lopes, Almerinda da Silva
description He is considered as one of the first artists to use the Informal Abstraction in Brazil, after his first period participating in the second School of Paris (1946-1951); however, the artistic production of this artist was kept in permanent transit between the figurative and non-geometric branch of the abstraction and between the informal abstraction and the geometric abstraction. And differently from other followers of the informalism, Antônio Bandera kept on giving titles to his works, mainly to the trees and the cathedrals, in which he makes evident mythical and religious singularities. In special through the cathedrals, he ventures on a kind of revisiting of themes similar to those of Paul Klee, Mondrian and Pollock, which are reprocessed, re-coded and updated by him.
publishDate 1997
dc.date.none.fl_str_mv 1997-12-31
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
Avaliado por Pares
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://revistaseletronicas.pucrs.br/index.php/iberoamericana/article/view/28275
10.15448/1980-864X.1997.2.28275
url https://revistaseletronicas.pucrs.br/index.php/iberoamericana/article/view/28275
identifier_str_mv 10.15448/1980-864X.1997.2.28275
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://revistaseletronicas.pucrs.br/index.php/iberoamericana/article/view/28275/15844
dc.rights.driver.fl_str_mv Copyright (c) 2017 Almerinda da Silva Lopes
https://creativecommons.org/licenses/by/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2017 Almerinda da Silva Lopes
https://creativecommons.org/licenses/by/4.0
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Editora da PUCRS - ediPUCRS
publisher.none.fl_str_mv Editora da PUCRS - ediPUCRS
dc.source.none.fl_str_mv Estudos Ibero-Americanos; Vol. 23 No. 2 (1997); 71-82
Estudos Ibero-Americanos; Vol. 23 Núm. 2 (1997); 71-82
Estudos Ibero-Americanos; v. 23 n. 2 (1997); 71-82
1980-864X
0101-4064
10.15448/1980-864X.1997.2
reponame:Estudos Ibero-Americanos
instname:Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)
instacron:PUC_RS
instname_str Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)
instacron_str PUC_RS
institution PUC_RS
reponame_str Estudos Ibero-Americanos
collection Estudos Ibero-Americanos
repository.name.fl_str_mv Estudos Ibero-Americanos - Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)
repository.mail.fl_str_mv editora.periodicos@pucrs.br||eia@pucrs.br
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