Contemplando a figura na pintura : a posição do observador
Autor(a) principal: | |
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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 |
Resumo: | 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 |
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Contemplando a figura na pintura : a posição do observadorChardin, Jean-Baptiste Siméon, 1699-1779Friedrich, Caspar David, 1774-1840Manet, Edouard, 1832-1883Struth, Thomas, 1954-Borremans, Michaël, 1963-PinturaFigura humanaOlharAbsorçãoPinturaI 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 invisibleVidal, Carlos, 1964-Repositório da Universidade de LisboaFilipe, Mariana Garcia, 1988-2015-10-20T15:01:47Z2013-12-182015-10-202013-12-18T00:00:00Zinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisimage/jpegapplication/pdfhttp://hdl.handle.net/10451/20288TID:201356767porinfo: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:RCAAP2023-11-08T16:05:38Zoai:repositorio.ul.pt:10451/20288Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T21:38:21.458898Repositório 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 |
Contemplando a figura na pintura : a posição do observador |
title |
Contemplando a figura na pintura : a posição do observador |
spellingShingle |
Contemplando a figura na pintura : a posição do observador Filipe, Mariana Garcia, 1988- 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 |
title_short |
Contemplando a figura na pintura : a posição do observador |
title_full |
Contemplando a figura na pintura : a posição do observador |
title_fullStr |
Contemplando a figura na pintura : a posição do observador |
title_full_unstemmed |
Contemplando a figura na pintura : a posição do observador |
title_sort |
Contemplando a figura na pintura : a posição do observador |
author |
Filipe, Mariana Garcia, 1988- |
author_facet |
Filipe, Mariana Garcia, 1988- |
author_role |
author |
dc.contributor.none.fl_str_mv |
Vidal, Carlos, 1964- Repositório da Universidade de Lisboa |
dc.contributor.author.fl_str_mv |
Filipe, Mariana Garcia, 1988- |
dc.subject.por.fl_str_mv |
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 |
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 |
description |
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 |
publishDate |
2013 |
dc.date.none.fl_str_mv |
2013-12-18 2013-12-18T00:00:00Z 2015-10-20T15:01:47Z 2015-10-20 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/masterThesis |
format |
masterThesis |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
http://hdl.handle.net/10451/20288 TID:201356767 |
url |
http://hdl.handle.net/10451/20288 |
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TID:201356767 |
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por |
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por |
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info:eu-repo/semantics/openAccess |
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openAccess |
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image/jpeg application/pdf |
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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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Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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RCAAP |
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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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