Art and exoticism in the representation of the artist’s studio in the 19th century in a watercolor by Rodolpho Amoedo
Autor(a) principal: | |
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Data de Publicação: | 2022 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | ArtCultura (Online) |
Texto Completo: | https://seer.ufu.br/index.php/artcultura/article/view/68282 |
Resumo: | Studio interiors have become par excellence themes in Nineteenth-century art and their representations in painting reveal a range of issues for art history. In the case of this article, we turn our attention to the presence of objects of origin or inspiration in cultures very far from European, and therefore identified as exotic, in the studio environment. These items were commonly used in painting compositions, such as genre scenes, nudes, and portraits, or decoration. But the representation of exotic objects in the artist’s studio indicates functions other than practical or decorative. Based on Rodolpho Amoedo’s watercolor “Artist’s studio in Paris” (1883), we investigate the exoticism in studio paintings |
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Art and exoticism in the representation of the artist’s studio in the 19th century in a watercolor by Rodolpho AmoedoArte e exotismo na representação do ateliê do artista no século XIX em uma aquarela de Rodolpho AmoedoateliêexotismoRodolpho AmoedostudioexoticismRodolpho AmoedoStudio interiors have become par excellence themes in Nineteenth-century art and their representations in painting reveal a range of issues for art history. In the case of this article, we turn our attention to the presence of objects of origin or inspiration in cultures very far from European, and therefore identified as exotic, in the studio environment. These items were commonly used in painting compositions, such as genre scenes, nudes, and portraits, or decoration. But the representation of exotic objects in the artist’s studio indicates functions other than practical or decorative. Based on Rodolpho Amoedo’s watercolor “Artist’s studio in Paris” (1883), we investigate the exoticism in studio paintingsOs interiores de ateliês se tornaram temas por excelência na arte do século XIX e suas representações na pintura revelam uma gama de questões para a História da Arte. No caso deste artigo, voltamos a atenção para a presença de objetos de origem ou de inspiração em culturas muito distantes da europeia, e por isso identificados como exóticos, no ambiente do ateliê. Esses itens eram normalmente utilizados em composições de pintura, como cenas de gênero, nus e retratos ou para decoração. Mas a representação dos objetos exóticos no ateliê do artista indica outras funções que não somente práticas ou ornamentais. A partir da aquarela Ateliê do artista em Paris (1883), de Rodolpho Amoedo, investigamos o exotismo nas pinturas de ateliê.Universidade Federal de Uberlândia2022-12-28info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://seer.ufu.br/index.php/artcultura/article/view/6828210.14393/artc-v24-n45-2022-68282ArtCultura; Vol. 24 No. 45 (2022): ArtCultura; 162-177ArtCultura; Vol. 24 Núm. 45 (2022): ArtCultura; 162-177ArtCultura; v. 24 n. 45 (2022): ArtCultura; 162-1772178-3845reponame:ArtCultura (Online)instname:Universidade Federal de Uberlândia (UFU)instacron:UFUporhttps://seer.ufu.br/index.php/artcultura/article/view/68282/35588dos Santos Nicolich, Natáliainfo:eu-repo/semantics/openAccess2023-10-16T15:23:16Zoai:ojs.www.seer.ufu.br:article/68282Revistahttp://www.seer.ufu.br/index.php/artcultura/indexPUBhttps://seer.ufu.br/index.php/artcultura/oaiakparanhos@uol.com.br||2178-38452178-3845opendoar:2023-10-16T15:23:16ArtCultura (Online) - Universidade Federal de Uberlândia (UFU)false |
dc.title.none.fl_str_mv |
Art and exoticism in the representation of the artist’s studio in the 19th century in a watercolor by Rodolpho Amoedo Arte e exotismo na representação do ateliê do artista no século XIX em uma aquarela de Rodolpho Amoedo |
title |
Art and exoticism in the representation of the artist’s studio in the 19th century in a watercolor by Rodolpho Amoedo |
spellingShingle |
Art and exoticism in the representation of the artist’s studio in the 19th century in a watercolor by Rodolpho Amoedo dos Santos Nicolich, Natália ateliê exotismo Rodolpho Amoedo studio exoticism Rodolpho Amoedo |
title_short |
Art and exoticism in the representation of the artist’s studio in the 19th century in a watercolor by Rodolpho Amoedo |
title_full |
Art and exoticism in the representation of the artist’s studio in the 19th century in a watercolor by Rodolpho Amoedo |
title_fullStr |
Art and exoticism in the representation of the artist’s studio in the 19th century in a watercolor by Rodolpho Amoedo |
title_full_unstemmed |
Art and exoticism in the representation of the artist’s studio in the 19th century in a watercolor by Rodolpho Amoedo |
title_sort |
Art and exoticism in the representation of the artist’s studio in the 19th century in a watercolor by Rodolpho Amoedo |
author |
dos Santos Nicolich, Natália |
author_facet |
dos Santos Nicolich, Natália |
author_role |
author |
dc.contributor.author.fl_str_mv |
dos Santos Nicolich, Natália |
dc.subject.por.fl_str_mv |
ateliê exotismo Rodolpho Amoedo studio exoticism Rodolpho Amoedo |
topic |
ateliê exotismo Rodolpho Amoedo studio exoticism Rodolpho Amoedo |
description |
Studio interiors have become par excellence themes in Nineteenth-century art and their representations in painting reveal a range of issues for art history. In the case of this article, we turn our attention to the presence of objects of origin or inspiration in cultures very far from European, and therefore identified as exotic, in the studio environment. These items were commonly used in painting compositions, such as genre scenes, nudes, and portraits, or decoration. But the representation of exotic objects in the artist’s studio indicates functions other than practical or decorative. Based on Rodolpho Amoedo’s watercolor “Artist’s studio in Paris” (1883), we investigate the exoticism in studio paintings |
publishDate |
2022 |
dc.date.none.fl_str_mv |
2022-12-28 |
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://seer.ufu.br/index.php/artcultura/article/view/68282 10.14393/artc-v24-n45-2022-68282 |
url |
https://seer.ufu.br/index.php/artcultura/article/view/68282 |
identifier_str_mv |
10.14393/artc-v24-n45-2022-68282 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://seer.ufu.br/index.php/artcultura/article/view/68282/35588 |
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 Uberlândia |
publisher.none.fl_str_mv |
Universidade Federal de Uberlândia |
dc.source.none.fl_str_mv |
ArtCultura; Vol. 24 No. 45 (2022): ArtCultura; 162-177 ArtCultura; Vol. 24 Núm. 45 (2022): ArtCultura; 162-177 ArtCultura; v. 24 n. 45 (2022): ArtCultura; 162-177 2178-3845 reponame:ArtCultura (Online) instname:Universidade Federal de Uberlândia (UFU) instacron:UFU |
instname_str |
Universidade Federal de Uberlândia (UFU) |
instacron_str |
UFU |
institution |
UFU |
reponame_str |
ArtCultura (Online) |
collection |
ArtCultura (Online) |
repository.name.fl_str_mv |
ArtCultura (Online) - Universidade Federal de Uberlândia (UFU) |
repository.mail.fl_str_mv |
akparanhos@uol.com.br|| |
_version_ |
1797069138593579008 |