When does an individual artistic style become a way of painting? The case of the naïve artist Chico da Silva

Detalhes bibliográficos
Autor(a) principal: da Costa Oliveira, Gerciane Maria
Data de Publicação: 2017
Tipo de documento: Artigo
Idioma: por
Título da fonte: Crítica Cultural (Online)
Texto Completo: https://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/4074
Resumo: The present article seeks to problematize the phenomenon of dissemination of Chico da Silva (1910-1985) singular painting style between a legion of anonymous artists in Ceará in the 1960s. The analysis starts from the internal order of the painter’s work for an external dimension, considering as means of understanding both the plastic and stylistic elements present in the canvases, and the context of inscription of this artistic work. By extending his production to the collective ateliers, involving third parties in the rendering process of his canvases, Silva allowed the insertion of people who had never had contact with him, conforming a great number of anonymous in manufacturers of professional pictures. It is the particular conditions of the naïf production field, as well as Silva’s formal synthesizing process, operated on the basis of the intensification of the pictorial market, which will allow the entry of people distant from official aesthetic circuits into a dynamic of artistic production.
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spelling When does an individual artistic style become a way of painting? The case of the naïve artist Chico da SilvaQuando um estilo artístico individual se torna uma maneira de pintar? O caso do artista naif Chico da SilvaNaïve Art. Collective production. Reproduction.Arte Naïf. Produção coletiva. ReproduçãoThe present article seeks to problematize the phenomenon of dissemination of Chico da Silva (1910-1985) singular painting style between a legion of anonymous artists in Ceará in the 1960s. The analysis starts from the internal order of the painter’s work for an external dimension, considering as means of understanding both the plastic and stylistic elements present in the canvases, and the context of inscription of this artistic work. By extending his production to the collective ateliers, involving third parties in the rendering process of his canvases, Silva allowed the insertion of people who had never had contact with him, conforming a great number of anonymous in manufacturers of professional pictures. It is the particular conditions of the naïf production field, as well as Silva’s formal synthesizing process, operated on the basis of the intensification of the pictorial market, which will allow the entry of people distant from official aesthetic circuits into a dynamic of artistic production.O presente artigo busca problematizar o fenômeno de disseminação do estilo singular de pintura do artista renomado Chico da Silva (1910-1985) entre uma legião de anônimos no Ceará da década de 1960. A análise parte da ordem interna da obra do Pintor para dimensão externa, considerando como vias de compreensão, tanto os elementos plásticos e estilísticos presentes nas telas, como o contexto de inscrição deste fazer artístico.  Ao estender sua produção aos ateliês coletivos, envolvendo terceiros no processo de feituras de suas telas, Silva possibilitou a inserção de pessoas que nunca tiveram contato com ele, conformando um grande número de anônimos em fabricantes de quadros profissionais. São as condições particulares do campo de produção naif, assim como, o processo de sintetização formal de Silva operada com base na intensificação do mercado pictórico que proporcionarão a entrada de pessoas distantes dos circuitos oficiais estéticos em uma dinâmica de produção artística. Universidade do Sul de Santa Catarina2017-12-19info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/407410.19177/rcc.v12e22017305-313Revista Crítica Cultural; v. 12 n. 2 (2017); 305-3131980-64931980-6493reponame:Crítica Cultural (Online)instname:Universidade do Sul de Santa Catarina (UNISUL)instacron:UNISULporhttps://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/4074/pdfCopyright (c) 2017 Revista Crítica Culturalinfo:eu-repo/semantics/openAccessda Costa Oliveira, Gerciane Maria2017-12-19T18:40:52Zoai:portaldeperiodicos.animaeducacao.com.br:article/4074Revistahttps://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_CulturalPRIhttps://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/oairamayana.lira@gmail.com1980-64931980-6493opendoar:2017-12-19T18:40:52Crítica Cultural (Online) - Universidade do Sul de Santa Catarina (UNISUL)false
dc.title.none.fl_str_mv When does an individual artistic style become a way of painting? The case of the naïve artist Chico da Silva
Quando um estilo artístico individual se torna uma maneira de pintar? O caso do artista naif Chico da Silva
title When does an individual artistic style become a way of painting? The case of the naïve artist Chico da Silva
spellingShingle When does an individual artistic style become a way of painting? The case of the naïve artist Chico da Silva
da Costa Oliveira, Gerciane Maria
Naïve Art. Collective production. Reproduction.
Arte Naïf. Produção coletiva. Reprodução
title_short When does an individual artistic style become a way of painting? The case of the naïve artist Chico da Silva
title_full When does an individual artistic style become a way of painting? The case of the naïve artist Chico da Silva
title_fullStr When does an individual artistic style become a way of painting? The case of the naïve artist Chico da Silva
title_full_unstemmed When does an individual artistic style become a way of painting? The case of the naïve artist Chico da Silva
title_sort When does an individual artistic style become a way of painting? The case of the naïve artist Chico da Silva
author da Costa Oliveira, Gerciane Maria
author_facet da Costa Oliveira, Gerciane Maria
author_role author
dc.contributor.author.fl_str_mv da Costa Oliveira, Gerciane Maria
dc.subject.por.fl_str_mv Naïve Art. Collective production. Reproduction.
Arte Naïf. Produção coletiva. Reprodução
topic Naïve Art. Collective production. Reproduction.
Arte Naïf. Produção coletiva. Reprodução
description The present article seeks to problematize the phenomenon of dissemination of Chico da Silva (1910-1985) singular painting style between a legion of anonymous artists in Ceará in the 1960s. The analysis starts from the internal order of the painter’s work for an external dimension, considering as means of understanding both the plastic and stylistic elements present in the canvases, and the context of inscription of this artistic work. By extending his production to the collective ateliers, involving third parties in the rendering process of his canvases, Silva allowed the insertion of people who had never had contact with him, conforming a great number of anonymous in manufacturers of professional pictures. It is the particular conditions of the naïf production field, as well as Silva’s formal synthesizing process, operated on the basis of the intensification of the pictorial market, which will allow the entry of people distant from official aesthetic circuits into a dynamic of artistic production.
publishDate 2017
dc.date.none.fl_str_mv 2017-12-19
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://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/4074
10.19177/rcc.v12e22017305-313
url https://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/4074
identifier_str_mv 10.19177/rcc.v12e22017305-313
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://portaldeperiodicos.animaeducacao.com.br/index.php/Critica_Cultural/article/view/4074/pdf
dc.rights.driver.fl_str_mv Copyright (c) 2017 Revista Crítica Cultural
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2017 Revista Crítica Cultural
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidade do Sul de Santa Catarina
publisher.none.fl_str_mv Universidade do Sul de Santa Catarina
dc.source.none.fl_str_mv Revista Crítica Cultural; v. 12 n. 2 (2017); 305-313
1980-6493
1980-6493
reponame:Crítica Cultural (Online)
instname:Universidade do Sul de Santa Catarina (UNISUL)
instacron:UNISUL
instname_str Universidade do Sul de Santa Catarina (UNISUL)
instacron_str UNISUL
institution UNISUL
reponame_str Crítica Cultural (Online)
collection Crítica Cultural (Online)
repository.name.fl_str_mv Crítica Cultural (Online) - Universidade do Sul de Santa Catarina (UNISUL)
repository.mail.fl_str_mv ramayana.lira@gmail.com
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