A distração do pintor : nos limites do retrato

• Autor(a) principal: Martins, Mafalda Salema d’Oliveira, 1994-
• Data de Publicação: 2019
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: http://hdl.handle.net/10451/37501
• topic: Pintura; Retrato; Ateliers de artistas; Diálogo; Distracção; Pintura

It should be permitted for a painter to wander around its canvases, its models, to get off the easel from now and then in order to take its coffee and learn how to be with others. To distractedly contemplate as one who lets him(her)self be charmed by the experience of the visible, by the company of others and by the privilege on being able to address the “exceedance” of an encounter. This dissertation aims to express that Painting does not only convey an appeal to sum up the visible data but it is an appeal for a representation of an entire conjunction of perceptions that might be entrapped in the conjugation of the verb “to be”. More specifically, the dialogue interchanged between the artistic project and the theoretical investigation addresses a fundamental will that is the desire of approaching a crowded daily living reality in which every person is responsible for the transformation of that day and of its living. This is an approach that consists on looking firstly in an outward direction so it can lead to a posterior better inward vision. It starts throughout a conversation, a natural encounter, using the Portrait as the mean to direct this look. To open up space to this human and pictorial dialogue, we have to establish some premises. The painter has to become a good host of its workplace, the studio, and has to enable his paintings to be susceptible to an error, to an accident and, by doing so, the painter may untie the idea the he/she might have been carrying before from his/her intervention on the canvas; or the painter may untie the model from the previous character judgment he/she might have built prior to the portrait session; Finally, by separating these possible prejudices, the painter ends up submitting the possibility of using the state of distraction as a form of “probing” the unpredictabilities of this active scene. On doing this, the artist unravels the limits of the eye’s inquisitive nature, which is far unknown. At last, a new question emerges: “what does this picture portray?. Is it the model, the painter, or the conversation that is extended to the painting? Where do these wandering eyes and the hand that follows it meet and, more importantly, when do these two reach the conclusion that the work of art is finished?