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Adriana Romeirohttp://lattes.cnpq.br/5770163575971742Rafael MoreiraMyriam Andrade Ribeiro OliveiraLuiz Carlos VillaltaMagno Moraes MelloMarcos TognonMiguel Figueira Fariahttp://lattes.cnpq.br/4615662337412679Camila Fernanda Guimarães Santiago2022-11-16T09:11:00Z2022-11-16T09:11:00Z2009-12-11http://hdl.handle.net/1843/47221O presente trabalho estuda as relações entre os impressos europeus e a produção pictórica em Minas Gerais durante o desenvolvimento da linguagem artística conhecida como rococó. Formalmente, essa linguagem caracterizava-se, em relação ao período anterior, por cores mais claras, fundos claros que favoreciam a distinção das figuras em primeiro plano, uso da cor branca para destacar douramentos e medalhões figurativos, ornamentos rocaille, festões, guirlandas, flores e por maior comedimento de personagens e adornos. Verticaliza-se a análise nos impactos do manuseio de impressos europeus, com destaque para livros e gravuras, pelos envolvidos no fazer artístico. O levantamento realizado nos inventários de alfaias dos sodalícios e nos inventários post-mortem dos artistas revelou a presença de tomos e de estampas que eram manipulados para o aprimoramento das criações picturais. É preciso considerar que a utilização de impressos na época não se restringia às tarefas cognitivas atualmente entendidas como leitura – decodificação intelectual e sistemática de signos alfabéticos –, mas ampliava-se abarcando práticas variadas: miravam-se os produtos das prensas europeias, seja com vistas aos ensinamentos textuais que continham, seja enfocando as imagens que os compunham. Três tipos de impressos são, aqui, privilegiados: estampas avulsas, sobretudo registros de santos, livros que versam sobre o fazer pictórico, como os tratados, e livros religiosos ilustrados. Os livros sobre pintura arrolados nos inventários dos artistas foram lidos, estudados, e os conhecimentos técnicos e concepções estéticas que encerram foram cotejados com as pinturas realizadas por seus donos e contemporâneos. Gravuras que ilustravam livros religiosos ou estampas que circulavam avulsas eram tomadas como modelos para pinturas. Diante da estampa que retratava, geralmente, o tema encomendado, o artista lançava-se na execução da obra que poderia se tornar mais ou menos semelhante à imagem modelar.The present doctoral thesis studies the relationships between the European prints and the pictorial production in Minas Gerais during the development of the artistic language known as Rococo. The thesis also analyses the impacts of the handling of European prints – books and engravings – on people involved with artistic creation. Examining the artists' post mortem inventories, the presence of volumes and prints that were manipulated for the improvement of the picturals creations was revealed. It is necessary to consider that the use of prints at that time was not limited to the cognitive tasks now understood as reading – intellectual and systematic decoding of alphabetical signs –, but it embraced varied practices: the products of the European presses were seen in order to learn the textual teachings that they contained as well as in order to observe the images that composed them. Three types of printed papers are, here, privileged: isolated prints, above all saints' registrations, books about painting practices, like the treatises, and illustrated religious books. The books about painting listed on artists’ inventories were read, studied, and the technical knowledge and its aesthetics conceptions were compared with the paintings made by their owners and contemporaries.porUniversidade Federal de Minas GeraisPrograma de Pós-Graduação em HistóriaUFMGBrasilFAF - DEPARTAMENTO DE HISTÓRIAHistória - TesesPintura - TesesMinas Gerais - História - TesesImpressosPinturaMinas GeraisUsos e impactos de impressos europeus na configuração do universo pictórico mineiro (1777-1830)info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesisinfo:eu-repo/semantics/openAccessreponame:Repositório Institucional da UFMGinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGLICENSElicense.txtlicense.txttext/plain; charset=utf-82118https://repositorio.ufmg.br/bitstream/1843/47221/2/license.txtcda590c95a0b51b4d15f60c9642ca272MD52ORIGINALtese camila santiago.pdftese camila santiago.pdfapplication/pdf19151458https://repositorio.ufmg.br/bitstream/1843/47221/1/tese%20camila%20santiago.pdf0ad963f1132504fa638f3470bbfd5330MD511843/472212022-11-16 06:11:02.264oai:repositorio.ufmg.br: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ório InstitucionalPUBhttps://repositorio.ufmg.br/oaiopendoar:2022-11-16T09:11:02Repositório Institucional da UFMG - Universidade Federal de Minas Gerais (UFMG)false
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