The allegorical representation of the State in Debret and Pedro Américo

Detalhes bibliográficos
Autor(a) principal: Frazão Conduru, Guilherme
Data de Publicação: 2020
Tipo de documento: Artigo
Idioma: por
Título da fonte: ArtCultura (Online)
Texto Completo: https://seer.ufu.br/index.php/artcultura/article/view/58642
Resumo: The article proposes a compared iconological analysis of two allegorical paintings dedicated to the representation of the state, both produced during the consolidation of new political orders after institutional ruptures: the stage curtain for the coronation gala in honour of Pedro I in Rio de Janeiro court theatre(1822), by JeanBaptiste Debret; and Paz e concórdia (1902), by Pedro Américo, exaltation allegory, sketched in 1895 and sold to the Ministry of Foreign Relations in 1903, after an attempt to be exposed in the Paris salon of 1900. While Debret’s work attempts to represent characteristic elements of the Brazilian state, including its ethnical diversity, Pedro Américo’s canvas, as a joker allegory, represents universal concepts and adaptable national contents.
id UFU-15_e2e8648927a7871bb5dd2e47791c8f0b
oai_identifier_str oai:ojs.www.seer.ufu.br:article/58642
network_acronym_str UFU-15
network_name_str ArtCultura (Online)
repository_id_str
spelling The allegorical representation of the State in Debret and Pedro AméricoA representação alegórica do Estado em Debret e Pedro Américoarte no Brasil (séculos XIX e XX)pintura alegóricarepresentação do EstadoArt in Brazil (XIX and XX centuries)allegorical paintingState representationThe article proposes a compared iconological analysis of two allegorical paintings dedicated to the representation of the state, both produced during the consolidation of new political orders after institutional ruptures: the stage curtain for the coronation gala in honour of Pedro I in Rio de Janeiro court theatre(1822), by JeanBaptiste Debret; and Paz e concórdia (1902), by Pedro Américo, exaltation allegory, sketched in 1895 and sold to the Ministry of Foreign Relations in 1903, after an attempt to be exposed in the Paris salon of 1900. While Debret’s work attempts to represent characteristic elements of the Brazilian state, including its ethnical diversity, Pedro Américo’s canvas, as a joker allegory, represents universal concepts and adaptable national contents.O artigo propõe uma análise iconológica comparada de duas pinturas alegóricas dedicadas à representação do Estado, realizadas em diferentes momentos de busca de consolidação de uma nova ordem política, após rupturas institucionais: o pano de boca para o teatro da corte do Rio de Janeiro na noite de gala da coroação de Pedro I, de Jean-Baptiste Debret, de 1822; e Paz e concórdia, de Pedro Américo, alegoria-exaltação esboçada em 1895 e vendida ao Ministério das Relações Exteriores em 1903, depois de tentativa de exposição no salão parisiense de 1900. Enquanto a obra de Debret procurou representar elementos que seriam característicos do Estado brasileiro, inclusive a diversidade étnica, a tela de Pedro Américo, como alegoriacoringa, representou conceitos universais e conteúdo nacional adaptável.Universidade Federal de Uberlândia2020-12-26info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://seer.ufu.br/index.php/artcultura/article/view/5864210.14393/artc-v22-n41-2020-58642ArtCultura; Vol. 22 No. 41 (2020): ArtCultura; 57-73ArtCultura; Vol. 22 Núm. 41 (2020): ArtCultura; 57-73ArtCultura; v. 22 n. 41 (2020): ArtCultura; 57-732178-3845reponame:ArtCultura (Online)instname:Universidade Federal de Uberlândia (UFU)instacron:UFUporhttps://seer.ufu.br/index.php/artcultura/article/view/58642/30617Frazão Conduru, Guilherme info:eu-repo/semantics/openAccess2022-05-27T16:15:41Zoai:ojs.www.seer.ufu.br:article/58642Revistahttp://www.seer.ufu.br/index.php/artcultura/indexPUBhttps://seer.ufu.br/index.php/artcultura/oaiakparanhos@uol.com.br||2178-38452178-3845opendoar:2022-05-27T16:15:41ArtCultura (Online) - Universidade Federal de Uberlândia (UFU)false
dc.title.none.fl_str_mv The allegorical representation of the State in Debret and Pedro Américo
A representação alegórica do Estado em Debret e Pedro Américo
title The allegorical representation of the State in Debret and Pedro Américo
spellingShingle The allegorical representation of the State in Debret and Pedro Américo
Frazão Conduru, Guilherme
arte no Brasil (séculos XIX e XX)
pintura alegórica
representação do Estado
Art in Brazil (XIX and XX centuries)
allegorical painting
State representation
title_short The allegorical representation of the State in Debret and Pedro Américo
title_full The allegorical representation of the State in Debret and Pedro Américo
title_fullStr The allegorical representation of the State in Debret and Pedro Américo
title_full_unstemmed The allegorical representation of the State in Debret and Pedro Américo
title_sort The allegorical representation of the State in Debret and Pedro Américo
author Frazão Conduru, Guilherme
author_facet Frazão Conduru, Guilherme
author_role author
dc.contributor.author.fl_str_mv Frazão Conduru, Guilherme
dc.subject.por.fl_str_mv arte no Brasil (séculos XIX e XX)
pintura alegórica
representação do Estado
Art in Brazil (XIX and XX centuries)
allegorical painting
State representation
topic arte no Brasil (séculos XIX e XX)
pintura alegórica
representação do Estado
Art in Brazil (XIX and XX centuries)
allegorical painting
State representation
description The article proposes a compared iconological analysis of two allegorical paintings dedicated to the representation of the state, both produced during the consolidation of new political orders after institutional ruptures: the stage curtain for the coronation gala in honour of Pedro I in Rio de Janeiro court theatre(1822), by JeanBaptiste Debret; and Paz e concórdia (1902), by Pedro Américo, exaltation allegory, sketched in 1895 and sold to the Ministry of Foreign Relations in 1903, after an attempt to be exposed in the Paris salon of 1900. While Debret’s work attempts to represent characteristic elements of the Brazilian state, including its ethnical diversity, Pedro Américo’s canvas, as a joker allegory, represents universal concepts and adaptable national contents.
publishDate 2020
dc.date.none.fl_str_mv 2020-12-26
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/58642
10.14393/artc-v22-n41-2020-58642
url https://seer.ufu.br/index.php/artcultura/article/view/58642
identifier_str_mv 10.14393/artc-v22-n41-2020-58642
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://seer.ufu.br/index.php/artcultura/article/view/58642/30617
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. 22 No. 41 (2020): ArtCultura; 57-73
ArtCultura; Vol. 22 Núm. 41 (2020): ArtCultura; 57-73
ArtCultura; v. 22 n. 41 (2020): ArtCultura; 57-73
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_ 1797069142812000256

Registros relacionados