Uma trajetória da xilogravura no Ceará
Autor(a) principal: | |
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Data de Publicação: | 2014 |
Tipo de documento: | Tese |
Idioma: | por |
Título da fonte: | Repositório Institucional da UFMG |
Texto Completo: | http://hdl.handle.net/1843/EBAC-9Q7NGM |
Resumo: | This paper studies the trajectory of the woodcut in Ceará, analyzing how its development occurred in its different manifestations: illustration, facing the commercial segment and popular-literature booklets (cordel); art, with the variation in the expanded field. The time frame is delimited to the period between 1930 and 2010, covering geographically only Cariri and Fortaleza, for they are the ones with the most significant works in this strand, in Ceará artistic context. In conducting this research, we used a socio-historical approach, based on the concepts of Cultural History, by which we examined the woodcut directed productions for: labels, popular-literature booklet covers, the sacred way, albums, the life of religious, outlaws and artists. We also investigated the importance of the development of the printer.s workshops in the development of popular-literature booklets. This study excelled also the contribution of the Art Museum of the Federal University of Ceará, to the preservation, dissemination, education and movement resumed production of engraving art in Fortaleza, in the 1990s, and the set up of its significant collection. It was considered important to highlight the inclusion of the woodcut as a discipline on curricular institutions of higher education of Visual Arts, in Fortaleza, and changes occurring in the aesthetic and artistic conceptions, which have culminated in expanding the field of engraving. Finally, we analyze the woodcuts of ten artists belonging to the two focused areas, providing the perception of differences and similarities between their productions. |
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Uma trajetória da xilogravura no CearáXilogravura artísticaXilogravura de ilustraçãoXilogravura no CearáArte CearáXilogravura Ceará 1930-2010This paper studies the trajectory of the woodcut in Ceará, analyzing how its development occurred in its different manifestations: illustration, facing the commercial segment and popular-literature booklets (cordel); art, with the variation in the expanded field. The time frame is delimited to the period between 1930 and 2010, covering geographically only Cariri and Fortaleza, for they are the ones with the most significant works in this strand, in Ceará artistic context. In conducting this research, we used a socio-historical approach, based on the concepts of Cultural History, by which we examined the woodcut directed productions for: labels, popular-literature booklet covers, the sacred way, albums, the life of religious, outlaws and artists. We also investigated the importance of the development of the printer.s workshops in the development of popular-literature booklets. This study excelled also the contribution of the Art Museum of the Federal University of Ceará, to the preservation, dissemination, education and movement resumed production of engraving art in Fortaleza, in the 1990s, and the set up of its significant collection. It was considered important to highlight the inclusion of the woodcut as a discipline on curricular institutions of higher education of Visual Arts, in Fortaleza, and changes occurring in the aesthetic and artistic conceptions, which have culminated in expanding the field of engraving. Finally, we analyze the woodcuts of ten artists belonging to the two focused areas, providing the perception of differences and similarities between their productions.Este trabalho estuda a trajetória da xilogravura no Ceará, analisando como ocorreu seu desenvolvimento nas suas diferentes formas de manifestação: de ilustração, voltada para o segmento comercial e do cordel; de arte, com a variação quando se encontra atuando no campo ampliado. O recorte temporal delimitou-se ao período compreendido entre 1930 e 2010, abrangendo, geograficamente, apenas as regiões do Cariri e de Fortaleza, por serem elas as que apresentam as produções mais significativas nessa vertente, no contexto artístico cearense. Na realização desta investigação, empregou-se uma abordagem sócio-histórica, fundamentada nas concepções da História Cultural, mediante a qual se examinaram as produções xilográficas voltadas para: os rótulos, as capas de cordel, as vias sacras, os álbuns, a vida de religiosos, cangaceiros e artistas. Investigou-se também a importância das tipografias no desenvolvimento dos folhetos populares. Destacou-se, ainda, nesta trajetória, a contribuição do Museu de Arte da Universidade Federal do Ceará, para a preservação, a difusão, o ensino e o movimento de retomada da produção da gravura de arte em Fortaleza, na década de 1990, e também a forma de constituição do seu significativo acervo. Considerou-se importante ressaltar ainda a inserção da xilogravura como disciplina, nas matrizes curriculares de instituições de ensino superior das Artes Visuais, em Fortaleza, e as mudanças ocorridas, nas concepções estéticas e artísticas, que têm culminado com a gravura, atuando em um campo ampliado. Finalmente, são analisadas as obras de dez artistas pertencentes às duas regiões enfocadas, proporcionando a percepção das diferenças e das similaridades existentes entre as suas produções xilográficas.Universidade Federal de Minas GeraisUFMGMaria do Carmo de F VenerosoMaristela SalvatoriMaria Luisa Luz TavoraMarilia Andres RibeiroMaria Angelica Melendi de BiasizzoFrancisco Sebasti?o de Paula2019-08-11T12:04:32Z2019-08-11T12:04:32Z2014-08-04info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/doctoralThesisapplication/pdfhttp://hdl.handle.net/1843/EBAC-9Q7NGMinfo:eu-repo/semantics/openAccessporreponame:Repositório Institucional da UFMGinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMG2019-11-14T08:42:24Zoai:repositorio.ufmg.br:1843/EBAC-9Q7NGMRepositório InstitucionalPUBhttps://repositorio.ufmg.br/oairepositorio@ufmg.bropendoar:2019-11-14T08:42:24Repositório Institucional da UFMG - Universidade Federal de Minas Gerais (UFMG)false |
dc.title.none.fl_str_mv |
Uma trajetória da xilogravura no Ceará |
title |
Uma trajetória da xilogravura no Ceará |
spellingShingle |
Uma trajetória da xilogravura no Ceará Francisco Sebasti?o de Paula Xilogravura artística Xilogravura de ilustração Xilogravura no Ceará Arte Ceará Xilogravura Ceará 1930-2010 |
title_short |
Uma trajetória da xilogravura no Ceará |
title_full |
Uma trajetória da xilogravura no Ceará |
title_fullStr |
Uma trajetória da xilogravura no Ceará |
title_full_unstemmed |
Uma trajetória da xilogravura no Ceará |
title_sort |
Uma trajetória da xilogravura no Ceará |
author |
Francisco Sebasti?o de Paula |
author_facet |
Francisco Sebasti?o de Paula |
author_role |
author |
dc.contributor.none.fl_str_mv |
Maria do Carmo de F Veneroso Maristela Salvatori Maria Luisa Luz Tavora Marilia Andres Ribeiro Maria Angelica Melendi de Biasizzo |
dc.contributor.author.fl_str_mv |
Francisco Sebasti?o de Paula |
dc.subject.por.fl_str_mv |
Xilogravura artística Xilogravura de ilustração Xilogravura no Ceará Arte Ceará Xilogravura Ceará 1930-2010 |
topic |
Xilogravura artística Xilogravura de ilustração Xilogravura no Ceará Arte Ceará Xilogravura Ceará 1930-2010 |
description |
This paper studies the trajectory of the woodcut in Ceará, analyzing how its development occurred in its different manifestations: illustration, facing the commercial segment and popular-literature booklets (cordel); art, with the variation in the expanded field. The time frame is delimited to the period between 1930 and 2010, covering geographically only Cariri and Fortaleza, for they are the ones with the most significant works in this strand, in Ceará artistic context. In conducting this research, we used a socio-historical approach, based on the concepts of Cultural History, by which we examined the woodcut directed productions for: labels, popular-literature booklet covers, the sacred way, albums, the life of religious, outlaws and artists. We also investigated the importance of the development of the printer.s workshops in the development of popular-literature booklets. This study excelled also the contribution of the Art Museum of the Federal University of Ceará, to the preservation, dissemination, education and movement resumed production of engraving art in Fortaleza, in the 1990s, and the set up of its significant collection. It was considered important to highlight the inclusion of the woodcut as a discipline on curricular institutions of higher education of Visual Arts, in Fortaleza, and changes occurring in the aesthetic and artistic conceptions, which have culminated in expanding the field of engraving. Finally, we analyze the woodcuts of ten artists belonging to the two focused areas, providing the perception of differences and similarities between their productions. |
publishDate |
2014 |
dc.date.none.fl_str_mv |
2014-08-04 2019-08-11T12:04:32Z 2019-08-11T12:04:32Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/doctoralThesis |
format |
doctoralThesis |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
http://hdl.handle.net/1843/EBAC-9Q7NGM |
url |
http://hdl.handle.net/1843/EBAC-9Q7NGM |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Federal de Minas Gerais UFMG |
publisher.none.fl_str_mv |
Universidade Federal de Minas Gerais UFMG |
dc.source.none.fl_str_mv |
reponame:Repositório Institucional da UFMG instname:Universidade Federal de Minas Gerais (UFMG) instacron:UFMG |
instname_str |
Universidade Federal de Minas Gerais (UFMG) |
instacron_str |
UFMG |
institution |
UFMG |
reponame_str |
Repositório Institucional da UFMG |
collection |
Repositório Institucional da UFMG |
repository.name.fl_str_mv |
Repositório Institucional da UFMG - Universidade Federal de Minas Gerais (UFMG) |
repository.mail.fl_str_mv |
repositorio@ufmg.br |
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1816829626410860544 |