Veiga Valle: recepção em estudos de identidade e tradição (1940-2001)

• Autor(a) principal: Santos, Fernando Martins dos
• Data de Publicação: 2023
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Repositório Institucional da UFG
• Texto Completo: http://repositorio.bc.ufg.br/tede/handle/tede/12785
• topic: Veiga Valle; Identidade; Tradição vilaboense; Recepção; OVAT; Patrimônio; Vilaboense tradition; Reception; Heritage; CIENCIAS HUMANAS::HISTORIA::HISTORIA DA AMERICA::HISTORIA LATINO-AMERICANA

José Joaquim da Veiga Valle (1806-1874) is the most known 19th century artist in Goiás, his works appear in countless churches and private altars. However, the artist became the synthesis of an identity (HALL), the “vilaboense” identity, which was built in two moments: with the transfer of the capital igniting a anti-change movement that evoked an identity for the old capital and, later, with the process of World Heritage Site. The artist was born in the old village of Meia Ponte (Pirenópolis), where he received his artistic training and his first political commitments. In 1841, Veiga Valle moved to the capital of the province, the city of Goiás, where he continued to act politically and produce his works. After his death, in 1874, Veiga Valle went through a period of oblivion and his rebirth took place with the transfer of the capital. In this process, Veiga Valle is linked to the Vilaboense identity, which is evidenced when analyzing his work from the aesthetics of reception (JAUSS). Newspapers, artists, intellectuals and memorialists began to place it with the aura of art pieces, more precisely with the Brazilian Baroque. Based on the assumption of the invention of traditions (HOBSBAWN), in the city of Goiás this process occurred after the transfer of the capital, a moment in which a search was made to its past to highlight the city as the cradle of Goiás culture. This process intensifies from the 60s onwards, when the Vilaboense Organization of Arts and Traditions (OVAT) places itself as the guardian of Vilaboense tradition and projects the city for tourism, in which the works of Veiga Valle are placed as one of the main attractions. When the city's patrimonialization process began in the 1940s, Veiga Valle was once again placed as a fundamental element. The National Historic and Artistic Heritage Service (SPHAN), in its project to create a national identity, hadthe colonial period and the baroque of Minas Gerais as its basis for listing. In this way, the works of Veiga Valle were placed within this context and, thus, the city obtained its first heritage sites. In 2001, the city became a World Heritage Site. For the proposition of his candidacy, the city of Goiás was shown as the last representative of a period, the golden cycle, and the place that housed the last representative of the Brazilian Baroque, Veiga Valle.