From Amoreiras to Tereza Saint: Vieira da Silva and his Art
Autor(a) principal: | |
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Data de Publicação: | 2008 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Esboços (Online) |
DOI: | 10.5007/2175-7976.2008v15n19p151 |
Texto Completo: | https://periodicos.ufsc.br/index.php/esbocos/article/view/2175-7976.2008v15n19p151 |
Resumo: | The lifetime of the couple Maria Helena Vieira da Silva and Arpad Szenes in Brazil (from 1940 to 1947) is referenced by literature as an intervening period on the plastic production of each artist. It is also usually pointed as a period of difficulty about the insertion in the artistic enviroment. This text makes a reflection on Vieira da Silva’s plastic production in her “brazilian period”, indicating her solutions for the difficulties found in carrying on her artistic production during the exile. These solutions go beyond questions of thematic order (approaching painting issues that suffered considerable changes), technique order (sketches in paper, guache and drawings in small format increased) and pictorial order (the color, the light, the lines and the composition), and they are all noticed in the observation of the pieces. |
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Esboços (Online) |
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From Amoreiras to Tereza Saint: Vieira da Silva and his ArtDas Amoreiras a Santa Tereza: Vieira da Silva e suas obrasThe lifetime of the couple Maria Helena Vieira da Silva and Arpad Szenes in Brazil (from 1940 to 1947) is referenced by literature as an intervening period on the plastic production of each artist. It is also usually pointed as a period of difficulty about the insertion in the artistic enviroment. This text makes a reflection on Vieira da Silva’s plastic production in her “brazilian period”, indicating her solutions for the difficulties found in carrying on her artistic production during the exile. These solutions go beyond questions of thematic order (approaching painting issues that suffered considerable changes), technique order (sketches in paper, guache and drawings in small format increased) and pictorial order (the color, the light, the lines and the composition), and they are all noticed in the observation of the pieces.A vivência do casal Maria Helena Vieira da SilvaArpad Szenes no Brasil (1940 a 1947) é apontada pela literatura como um interregno na produção plástica de cada um dos artistas, sendo com frequência, o período passado no país, referenciado como de grandes dificuldades de inserção no meio artistico. Este texto reflete acerca da produção plástica de Vieira de Silva, mo seu"período brasileiro", apontando sobretudo as soluções por ela encontradas para dar continuidade a sua produção artistica em meio às dificuldades do exílio. Estas soluções perpassam questões de ordem temática (referentes aos motivos pintados que se transformam consideravelmente), técnica ( esboços em papel, guaches e desenhos em pequeno formato se proliferam) e pictórica (a cor, a luz, as linhas e composição) e são percebidas na apreciação da obras.Universidade Federal de Santa Catarina2008-03-21info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://periodicos.ufsc.br/index.php/esbocos/article/view/2175-7976.2008v15n19p15110.5007/2175-7976.2008v15n19p151Esboços: histories in global contexts; Vol. 15 No. 19 (2008); 151-162Esboços: historias en contextos globales; Vol. 15 Núm. 19 (2008); 151-162Esboços: histórias em contextos globais; v. 15 n. 19 (2008); 151-1622175-79761414-722Xreponame:Esboços (Online)instname:Universidade Federal de Santa Catarina (UFSC)instacron:UFSCporhttps://periodicos.ufsc.br/index.php/esbocos/article/view/2175-7976.2008v15n19p151/9177Copyright (c) 2019 Luciene Lehmkuhlinfo:eu-repo/semantics/openAccessLehmkuhl, Luciene2023-01-12T15:08:37Zoai:periodicos.ufsc.br:article/9335Revistahttps://periodicos.ufsc.br/index.php/esbocos/indexPUBhttps://periodicos.ufsc.br/index.php/esbocos/oaiportaldeperiodicos.bu@contato.ufsc.br||esbocos@contato.ufsc.br||2175-79761414-722Xopendoar:2023-01-12T15:08:37Esboços (Online) - Universidade Federal de Santa Catarina (UFSC)false |
dc.title.none.fl_str_mv |
From Amoreiras to Tereza Saint: Vieira da Silva and his Art Das Amoreiras a Santa Tereza: Vieira da Silva e suas obras |
title |
From Amoreiras to Tereza Saint: Vieira da Silva and his Art |
spellingShingle |
From Amoreiras to Tereza Saint: Vieira da Silva and his Art From Amoreiras to Tereza Saint: Vieira da Silva and his Art Lehmkuhl, Luciene Lehmkuhl, Luciene |
title_short |
From Amoreiras to Tereza Saint: Vieira da Silva and his Art |
title_full |
From Amoreiras to Tereza Saint: Vieira da Silva and his Art |
title_fullStr |
From Amoreiras to Tereza Saint: Vieira da Silva and his Art From Amoreiras to Tereza Saint: Vieira da Silva and his Art |
title_full_unstemmed |
From Amoreiras to Tereza Saint: Vieira da Silva and his Art From Amoreiras to Tereza Saint: Vieira da Silva and his Art |
title_sort |
From Amoreiras to Tereza Saint: Vieira da Silva and his Art |
author |
Lehmkuhl, Luciene |
author_facet |
Lehmkuhl, Luciene Lehmkuhl, Luciene |
author_role |
author |
dc.contributor.author.fl_str_mv |
Lehmkuhl, Luciene |
description |
The lifetime of the couple Maria Helena Vieira da Silva and Arpad Szenes in Brazil (from 1940 to 1947) is referenced by literature as an intervening period on the plastic production of each artist. It is also usually pointed as a period of difficulty about the insertion in the artistic enviroment. This text makes a reflection on Vieira da Silva’s plastic production in her “brazilian period”, indicating her solutions for the difficulties found in carrying on her artistic production during the exile. These solutions go beyond questions of thematic order (approaching painting issues that suffered considerable changes), technique order (sketches in paper, guache and drawings in small format increased) and pictorial order (the color, the light, the lines and the composition), and they are all noticed in the observation of the pieces. |
publishDate |
2008 |
dc.date.none.fl_str_mv |
2008-03-21 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://periodicos.ufsc.br/index.php/esbocos/article/view/2175-7976.2008v15n19p151 10.5007/2175-7976.2008v15n19p151 |
url |
https://periodicos.ufsc.br/index.php/esbocos/article/view/2175-7976.2008v15n19p151 |
identifier_str_mv |
10.5007/2175-7976.2008v15n19p151 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://periodicos.ufsc.br/index.php/esbocos/article/view/2175-7976.2008v15n19p151/9177 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2019 Luciene Lehmkuhl info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2019 Luciene Lehmkuhl |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Federal de Santa Catarina |
publisher.none.fl_str_mv |
Universidade Federal de Santa Catarina |
dc.source.none.fl_str_mv |
Esboços: histories in global contexts; Vol. 15 No. 19 (2008); 151-162 Esboços: historias en contextos globales; Vol. 15 Núm. 19 (2008); 151-162 Esboços: histórias em contextos globais; v. 15 n. 19 (2008); 151-162 2175-7976 1414-722X reponame:Esboços (Online) instname:Universidade Federal de Santa Catarina (UFSC) instacron:UFSC |
instname_str |
Universidade Federal de Santa Catarina (UFSC) |
instacron_str |
UFSC |
institution |
UFSC |
reponame_str |
Esboços (Online) |
collection |
Esboços (Online) |
repository.name.fl_str_mv |
Esboços (Online) - Universidade Federal de Santa Catarina (UFSC) |
repository.mail.fl_str_mv |
portaldeperiodicos.bu@contato.ufsc.br||esbocos@contato.ufsc.br|| |
_version_ |
1822179512069128193 |
dc.identifier.doi.none.fl_str_mv |
10.5007/2175-7976.2008v15n19p151 |