À superfície : processo tecnológico e pictórico
Autor(a) principal: | |
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Data de Publicação: | 2021 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | http://hdl.handle.net/10451/50150 |
Resumo: | The target of this research in painting is the observer. Stemming from the pictorial surface, the intention was to inquire about a process that was anchored in practical experience, from which proceeded techniques and technologies that allowed for the positioning, by similarity, of the painting and the observer in a relationship of existence. The painting presents itself here as self representative, changeable, as the case may be, acquiring a disruptive role with its tradition, making its content occupy not so much its inner space, bat rather its outer space. The productive action that flows from reality personifies the painting, while the self (the observer) becomes pictorial, forming part of a live installation. This phenomenon exists because of the reflective quality of that surface. An observational art, as a fundamental need for a dialectical reading of what is visible, is then proposed. There can be no painting without its exterior and there can be no exterior if there is no painting. Thus, we focus on the space between the different elements, that is, the painting and the human eye, that empty space being what lies on the surface of both. From the procedural link between theory and practice of the different actions of the artist and observers, from the use of diversified technological means of pictorial production, it can be concluded that painting is an inexhaustible source of representation of itself, a representation of reality and, above all, a possibility within life that manifests a transversal completeness to all areas of knowledge and beyond which are represented in the realms of what is forbidden |
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À superfície : processo tecnológico e pictóricoManzoni, Piero, 1933-1963Ernst, Max, 1891-1976PinturaAcçãoIn-SituArte e tecnologiaDesenhoDomínio/Área Científica::Humanidades::ArtesThe target of this research in painting is the observer. Stemming from the pictorial surface, the intention was to inquire about a process that was anchored in practical experience, from which proceeded techniques and technologies that allowed for the positioning, by similarity, of the painting and the observer in a relationship of existence. The painting presents itself here as self representative, changeable, as the case may be, acquiring a disruptive role with its tradition, making its content occupy not so much its inner space, bat rather its outer space. The productive action that flows from reality personifies the painting, while the self (the observer) becomes pictorial, forming part of a live installation. This phenomenon exists because of the reflective quality of that surface. An observational art, as a fundamental need for a dialectical reading of what is visible, is then proposed. There can be no painting without its exterior and there can be no exterior if there is no painting. Thus, we focus on the space between the different elements, that is, the painting and the human eye, that empty space being what lies on the surface of both. From the procedural link between theory and practice of the different actions of the artist and observers, from the use of diversified technological means of pictorial production, it can be concluded that painting is an inexhaustible source of representation of itself, a representation of reality and, above all, a possibility within life that manifests a transversal completeness to all areas of knowledge and beyond which are represented in the realms of what is forbiddenSerra, Rui Alexandre Rosa GrinchoRepositório da Universidade de LisboaMarques, Alberto Rodrigues2021-11-22T12:39:15Z2021-11-102021-11-10T00:00:00Zinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisimage/jpegapplication/pdfhttp://hdl.handle.net/10451/50150TID:202785564porinfo:eu-repo/semantics/openAccessreponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAP2023-11-08T16:54:20Zoai:repositorio.ul.pt:10451/50150Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T22:01:44.386530Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
À superfície : processo tecnológico e pictórico |
title |
À superfície : processo tecnológico e pictórico |
spellingShingle |
À superfície : processo tecnológico e pictórico Marques, Alberto Rodrigues Manzoni, Piero, 1933-1963 Ernst, Max, 1891-1976 Pintura Acção In-Situ Arte e tecnologia Desenho Domínio/Área Científica::Humanidades::Artes |
title_short |
À superfície : processo tecnológico e pictórico |
title_full |
À superfície : processo tecnológico e pictórico |
title_fullStr |
À superfície : processo tecnológico e pictórico |
title_full_unstemmed |
À superfície : processo tecnológico e pictórico |
title_sort |
À superfície : processo tecnológico e pictórico |
author |
Marques, Alberto Rodrigues |
author_facet |
Marques, Alberto Rodrigues |
author_role |
author |
dc.contributor.none.fl_str_mv |
Serra, Rui Alexandre Rosa Grincho Repositório da Universidade de Lisboa |
dc.contributor.author.fl_str_mv |
Marques, Alberto Rodrigues |
dc.subject.por.fl_str_mv |
Manzoni, Piero, 1933-1963 Ernst, Max, 1891-1976 Pintura Acção In-Situ Arte e tecnologia Desenho Domínio/Área Científica::Humanidades::Artes |
topic |
Manzoni, Piero, 1933-1963 Ernst, Max, 1891-1976 Pintura Acção In-Situ Arte e tecnologia Desenho Domínio/Área Científica::Humanidades::Artes |
description |
The target of this research in painting is the observer. Stemming from the pictorial surface, the intention was to inquire about a process that was anchored in practical experience, from which proceeded techniques and technologies that allowed for the positioning, by similarity, of the painting and the observer in a relationship of existence. The painting presents itself here as self representative, changeable, as the case may be, acquiring a disruptive role with its tradition, making its content occupy not so much its inner space, bat rather its outer space. The productive action that flows from reality personifies the painting, while the self (the observer) becomes pictorial, forming part of a live installation. This phenomenon exists because of the reflective quality of that surface. An observational art, as a fundamental need for a dialectical reading of what is visible, is then proposed. There can be no painting without its exterior and there can be no exterior if there is no painting. Thus, we focus on the space between the different elements, that is, the painting and the human eye, that empty space being what lies on the surface of both. From the procedural link between theory and practice of the different actions of the artist and observers, from the use of diversified technological means of pictorial production, it can be concluded that painting is an inexhaustible source of representation of itself, a representation of reality and, above all, a possibility within life that manifests a transversal completeness to all areas of knowledge and beyond which are represented in the realms of what is forbidden |
publishDate |
2021 |
dc.date.none.fl_str_mv |
2021-11-22T12:39:15Z 2021-11-10 2021-11-10T00:00:00Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/masterThesis |
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masterThesis |
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publishedVersion |
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http://hdl.handle.net/10451/50150 TID:202785564 |
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http://hdl.handle.net/10451/50150 |
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TID:202785564 |
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openAccess |
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reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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