Contemplando a figura na pintura : a posição do observador

• Autor(a) principal: Filipe, Mariana Garcia, 1988-
• Data de Publicação: 2013
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: http://hdl.handle.net/10451/20288
• topic: Chardin, Jean-Baptiste Siméon, 1699-1779; Friedrich, Caspar David, 1774-1840; Manet, Edouard, 1832-1883; Struth, Thomas, 1954-; Borremans, Michaël, 1963-; Pintura; Figura humana; Olhar; Absorção; Pintura

I believe that Art happens in the exact physical space between a viewer and an image hanging on a wall. The viewer or beholder is something inherent to paintings but, for some artists and even for some periods of art history, the viewer gains a crucial place becoming the main point or initial reason for the conception of the work of art. Through the work of artists like Jean-Baptiste-Siméon Chardin, Caspar David Friedrich, Édouard Manet, Thomas Struth, and Michaël Borremans, we can study a very specific relationship between the figures represented in the paintings and the possible beholder that sees them. The presence of a human figure in the composition of a painting always has a strong impact on the beholder and these artists explore that impact in a very subtle way. This relationship set between these two elements - the figure in the painting and the beholder – is of great interest to me and I develop it in own artwork. Particularly speaking, when the figure in the painting is represented in an absorbed posture, and we can see that in the work of these five artists, there is a slight suggestion of what is happening in the painting but without giving it away completely leaving mystery to a certain degree. It is in the visible that we see the most invisible