Brazilian painting - Revision history

LucasBrown at 22:04, 7 August 2024

2024-08-07T22:04:55Z

← Previous revision		Revision as of 22:04, 7 August 2024
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			{{short description\|none}} <!-- "none" is preferred when the title is sufficiently descriptive; see [[WP:SDNONE]] -->
	{{Short description\|History of painting in Brazil}}
	[[File:Pedro alvares cabral discovery of brazil 1500.jpg\|thumb\|right\|Painting of [[Pedro Álvares Cabral]], the discovery of Brazil in 1500. Pedro Álvares Cabral sees the land that would later be known as Brazil for the first time.]]		[[File:Pedro alvares cabral discovery of brazil 1500.jpg\|thumb\|right\|Painting of [[Pedro Álvares Cabral]], the discovery of Brazil in 1500. Pedro Álvares Cabral sees the land that would later be known as Brazil for the first time.]]
	[[File:Os emigrantes.jpg\|thumb\|right\|Antonio Rocco: ''The immigrants'', 1910. It portrays [[immigration to Brazil]].]]		[[File:Os emigrantes.jpg\|thumb\|right\|Antonio Rocco: ''The immigrants'', 1910. It portrays [[immigration to Brazil]].]]

Tom.Reding: +{{Authority control}} (1 ID from Wikidata); WP:GenFixes & cleanup on

2023-10-30T21:06:12Z

+{{Authority control}} (1 ID from Wikidata); WP:GenFixes & cleanup on

← Previous revision		Revision as of 21:06, 30 October 2023
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	[[File:A Brazilian Landscape MET DP145952.jpg\|thumb\|right\|''A Brazilian landscape'', 1650. With a westward march, a [[Brazil]]ian territorial and population expansionist movement that also took place in the [[United States]].]]		[[File:A Brazilian Landscape MET DP145952.jpg\|thumb\|right\|''A Brazilian landscape'', 1650. With a westward march, a [[Brazil]]ian territorial and population expansionist movement that also took place in the [[United States]].]]
	{{Culture of Brazil}}		{{Culture of Brazil}}
	'''Brazilian painting''', or '''visual arts''', emerged in the late 16th century, influenced by the [[Baroque]] style imported from [[Portugal]]. Until the beginning of the 19th century, that style was the dominant school of [[painting]] in [[Brazil]], flourishing across the whole of the settled territories, mainly along the coast but also in important inland centers like [[Minas Gerais]].		'''Brazilian painting''', or '''visual arts''', emerged in the late 16th century, influenced by the [[Baroque]] style imported from [[Portugal]]. Until the beginning of the 19th century, that style was the dominant school of [[painting]] in [[Brazil]], flourishing across the whole of the settled territories, mainly along the coast but also in important inland centers like [[Minas Gerais]].

	A sudden break with the Baroque tradition was imposed on the art of the nation by the arrival of the Portuguese court in 1808, fleeing the French invasion of Portugal. However, Baroque painting still survived in many places until the end of the 19th century. In 1816, the king, [[John VI of Portugal\|John VI]], supported the project of creating a national Academy at the suggestion of some French artists led by [[Joachim Lebreton]], a group later known as the [[Missão Artística Francesa\|French Artistic Mission]]. They were instrumental in introducing the [[Neoclassicism\|Neoclassical]] style and a new concept of artistic education mirroring the European academies, being the first teachers at the newly founded school of art.		A sudden break with the Baroque tradition was imposed on the art of the nation by the arrival of the Portuguese court in 1808, fleeing the French invasion of Portugal. However, Baroque painting still survived in many places until the end of the 19th century. In 1816, the king, [[John VI of Portugal\|John VI]], supported the project of creating a national Academy at the suggestion of some French artists led by [[Joachim Lebreton]], a group later known as the [[Missão Artística Francesa\|French Artistic Mission]]. They were instrumental in introducing the [[Neoclassicism\|Neoclassical]] style and a new concept of artistic education mirroring the European academies, being the first teachers at the newly founded school of art.

	Through the following 70 years, the ''Royal School of Sciences, Arts and Crafts'', later renamed the [[Imperial Academy of Fine Arts (Brazil)\|Imperial Academy of Fine Arts]], would dictate the standards in art, a mixed trend of [[Neoclassicism]], [[Brazilian Romanticism Painting\|Romanticism]], and [[Realism (arts)\|Realism]] with nationalist inclinations which would be the basis for the production of a large amount of canvases depicting the nation's history, battle scenes, landscapes, portraits, genre painting, and still lifes, and featuring national characters like black people and Indians. [[Victor Meirelles]], [[Pedro Américo]], W. Reichardt, and [[Almeida Junior]] were the leaders of such academic art, but this period also received important contributions from foreigners like [[Georg Grimm]], Augusto Müller, and Nicola Antonio Facchinetti.		Through the following 70 years, the ''Royal School of Sciences, Arts and Crafts'', later renamed the [[Imperial Academy of Fine Arts (Brazil)\|Imperial Academy of Fine Arts]], would dictate the standards in art, a mixed trend of [[Neoclassicism]], [[Brazilian Romanticism Painting\|Romanticism]], and [[Realism (arts)\|Realism]] with nationalist inclinations which would be the basis for the production of a large amount of canvases depicting the nation's history, battle scenes, landscapes, portraits, genre painting, and still lifes, and featuring national characters like black people and Indians. [[Victor Meirelles]], [[Pedro Américo]], W. Reichardt, and [[Almeida Junior]] were the leaders of such academic art, but this period also received important contributions from foreigners like [[Georg Grimm]], Augusto Müller, and Nicola Antonio Facchinetti.
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	[[File:Serra da Capivara - Several Paintings 2.jpg\|thumb\|left\|Prehistoric paintings at [[Serra da Capivara National Park]].]]		[[File:Serra da Capivara - Several Paintings 2.jpg\|thumb\|left\|Prehistoric paintings at [[Serra da Capivara National Park]].]]

	Relatively little is known in respect to the pictorial art practiced in Brazil before the Portuguese discovery of the territory. The [[indigenous people]] the colonizers encountered did not practice painting as it was known in Europe, using paint for bodily decoration and the decoration of ceramic artifacts. Among the indigenous relics that survived this era, a good collection of pieces from the [[Marajoara]], [[Tapajós]] and [[Santarém, Pará\|Santarém]] cultures stand out, but the ceramic tradition as much as that of body painting have been preserved by the indigenous that still reside in Brazil, the elements among them being some of the most distinctive of their cultures. There also exist diverse painted panels of hunting scenes and other figures created by pre-historic peoples in caves and on rock walls in certain [[archeological sites]].		Relatively little is known in respect to the pictorial art practiced in Brazil before the Portuguese discovery of the territory. The [[indigenous people]] the colonizers encountered did not practice painting as it was known in Europe, using paint for bodily decoration and the decoration of ceramic artifacts. Among the indigenous relics that survived this era, a good collection of pieces from the [[Marajoara]], [[Tapajós]] and [[Santarém, Pará\|Santarém]] cultures stand out, but the ceramic tradition as much as that of body painting have been preserved by the indigenous that still reside in Brazil, the elements among them being some of the most distinctive of their cultures. There also exist diverse painted panels of hunting scenes and other figures created by pre-historic peoples in caves and on rock walls in certain [[archeological sites]].

	These paintings probably had ritual functions and would have been seen as endowed with magical powers, capable of capturing the souls of depicted animals and therefore allowing for successful hunts. The most ancient complex of sites known is that of the [[Serra da Capivara]], at [[Piauí]], which exhibits painted remains dated 32 thousand years ago. None of these traditions, however, was incorporated into the artistic current introduced by the Portuguese colonizers, which became predominant. As [[Roberto Burle Marx]] put it, the art of [[colonial Brazil]] is, in every sense, art of the Portuguese mother country, although on Brazilian soil various imposed adaptations have occurred through the specific local circumstances of the colonial process.		These paintings probably had ritual functions and would have been seen as endowed with magical powers, capable of capturing the souls of depicted animals and therefore allowing for successful hunts. The most ancient complex of sites known is that of the [[Serra da Capivara]], at [[Piauí]], which exhibits painted remains dated 32 thousand years ago. None of these traditions, however, was incorporated into the artistic current introduced by the Portuguese colonizers, which became predominant. As [[Roberto Burle Marx]] put it, the art of [[colonial Brazil]] is, in every sense, art of the Portuguese mother country, although on Brazilian soil various imposed adaptations have occurred through the specific local circumstances of the colonial process.
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	{{Brazil topics}}		{{Brazil topics}}
			{{Authority control}}

	{{DEFAULTSORT:Brazilian Painting}}		{{DEFAULTSORT:Brazilian Painting}}

Thiagovscoelho at 19:26, 22 June 2023

2023-06-22T19:26:37Z

← Previous revision		Revision as of 19:26, 22 June 2023
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	[[File:Os emigrantes.jpg\|thumb\|right\|Antonio Rocco: ''The immigrants'', 1910. It portrays [[immigration to Brazil]].]]		[[File:Os emigrantes.jpg\|thumb\|right\|Antonio Rocco: ''The immigrants'', 1910. It portrays [[immigration to Brazil]].]]
	[[File:A Brazilian Landscape MET DP145952.jpg\|thumb\|right\|''A Brazilian landscape'', 1650. With a westward march, a [[Brazil]]ian territorial and population expansionist movement that also took place in the [[United States]].]]		[[File:A Brazilian Landscape MET DP145952.jpg\|thumb\|right\|''A Brazilian landscape'', 1650. With a westward march, a [[Brazil]]ian territorial and population expansionist movement that also took place in the [[United States]].]]
			{{Culture of Brazil}}
	'''Brazilian painting''', or '''visual arts''', emerged in the late 16th century, influenced by the [[Baroque]] style imported from [[Portugal]]. Until the beginning of the 19th century, that style was the dominant school of [[painting]] in [[Brazil]], flourishing across the whole of the settled territories, mainly along the coast but also in important inland centers like [[Minas Gerais]].		'''Brazilian painting''', or '''visual arts''', emerged in the late 16th century, influenced by the [[Baroque]] style imported from [[Portugal]]. Until the beginning of the 19th century, that style was the dominant school of [[painting]] in [[Brazil]], flourishing across the whole of the settled territories, mainly along the coast but also in important inland centers like [[Minas Gerais]].

Citation bot: Misc citation tidying. | Use this bot. Report bugs. | Suggested by AManWithNoPlan | #UCB_CommandLine

2023-03-14T21:09:42Z

Misc citation tidying. | Use this bot. Report bugs. | Suggested by AManWithNoPlan | #UCB_CommandLine

← Previous revision		Revision as of 21:09, 14 March 2023
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	===Pernambuco and the Dutch===		===Pernambuco and the Dutch===

	The first Brazilian cultural nucleus that resembled a European court was founded in [[Recife]] in 1637 by the Dutch administrator, count Maurício de Nassau. Heir of the [[Renaissance]] spirit, as described by Gouvêa, Nassau implemented a series of administrative and infrastructural reforms in what was known as, ''[[Dutch Brazil]]''. Furthermore, he brought in his entourage a plethora of scientists, humanists and artists, who brought about a brilliant outside culture to the locale, and although they weren't able to reach all of their higher objectives, their presence resulted in the preparation, by white men in the tropics, of an unparalleled cultural work for the time and something considerably superior to what was being carried out by the Portuguese in other parts of the territory. Two painters stood out in their circle, [[Frans Post]] and [[Albert Eckhout]], producing works that allied a detailed documentary character to a superlative aesthetic quality, and up to today they stand as one of the primary sources of the study of landscape, nature and life of [[indigenous peoples]] and [[slaves]] of that region. This work, though it was returned to Europe upon the departure of the count in 1644, represented, in painting, the last echo of the Renaissance aesthetic on Brazilian soil.<ref>Gouvêa, Fernando da Cruz. [https://books.google.com/books?id=VH_CS3ef9KgC~~&printsec=frontcover&hl=pt-BR#v=onepage~~&q=a~~%20corte%20nassoviana%20no%20brasil&f=false~~ ''Maurício de Nassau e o Brasil Holandês'']. Editora Universitária UFPE, 1998. pp. 143-149; 186-188</ref>		The first Brazilian cultural nucleus that resembled a European court was founded in [[Recife]] in 1637 by the Dutch administrator, count Maurício de Nassau. Heir of the [[Renaissance]] spirit, as described by Gouvêa, Nassau implemented a series of administrative and infrastructural reforms in what was known as, ''[[Dutch Brazil]]''. Furthermore, he brought in his entourage a plethora of scientists, humanists and artists, who brought about a brilliant outside culture to the locale, and although they weren't able to reach all of their higher objectives, their presence resulted in the preparation, by white men in the tropics, of an unparalleled cultural work for the time and something considerably superior to what was being carried out by the Portuguese in other parts of the territory. Two painters stood out in their circle, [[Frans Post]] and [[Albert Eckhout]], producing works that allied a detailed documentary character to a superlative aesthetic quality, and up to today they stand as one of the primary sources of the study of landscape, nature and life of [[indigenous peoples]] and [[slaves]] of that region. This work, though it was returned to Europe upon the departure of the count in 1644, represented, in painting, the last echo of the Renaissance aesthetic on Brazilian soil.<ref>Gouvêa, Fernando da Cruz. [https://books.google.com/books?id=VH_CS3ef9KgC&q=a+corte+nassoviana+no+brasil ''Maurício de Nassau e o Brasil Holandês'']. Editora Universitária UFPE, 1998. pp. 143-149; 186-188</ref>

	===The flourishing Baroque===		===The flourishing Baroque===

Racnela21 at 17:18, 15 October 2022

2022-10-15T17:18:33Z

← Previous revision		Revision as of 17:18, 15 October 2022
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	A sudden break with the Baroque tradition was imposed on the art of the nation by the arrival of the Portuguese court in 1808, fleeing the French invasion of Portugal. However, Baroque painting still survived in many places until the end of the 19th century. In 1816, the king, [[John VI of Portugal\|John VI]], supported the project of creating a national Academy at the suggestion of some French artists led by [[Joachim Lebreton]], a group later known as the [[Missão Artística Francesa\|French Artistic Mission]]. They were instrumental in introducing the [[Neoclassicism\|Neoclassical]] style and a new concept of artistic education mirroring the European academies, being the first teachers at the newly founded school of art.		A sudden break with the Baroque tradition was imposed on the art of the nation by the arrival of the Portuguese court in 1808, fleeing the French invasion of Portugal. However, Baroque painting still survived in many places until the end of the 19th century. In 1816, the king, [[John VI of Portugal\|John VI]], supported the project of creating a national Academy at the suggestion of some French artists led by [[Joachim Lebreton]], a group later known as the [[Missão Artística Francesa\|French Artistic Mission]]. They were instrumental in introducing the [[Neoclassicism\|Neoclassical]] style and a new concept of artistic education mirroring the European academies, being the first teachers at the newly founded school of art.

	Through the following 70 years, the ''Royal School of Sciences, Arts and Crafts'', later renamed the [[Imperial Academy of Fine Arts (Brazil)\|Imperial Academy of Fine Arts]], would dictate the standards in art, a mixed trend of Neoclassicism, [[Brazilian Romanticism Painting\|Romanticism]], and [[Realism (arts)\|Realism]] with nationalist inclinations which would be the basis for the production of a large amount of canvases depicting the nation's history, battle scenes, landscapes, portraits, genre painting, and still lifes, and featuring national characters like black people and Indians. [[Victor Meirelles]], [[Pedro Américo]], W. Reichardt, and [[Almeida Junior]] were the leaders of such academic art, but this period also received important contributions from foreigners like [[Georg Grimm]], Augusto Müller, and Nicola Antonio Facchinetti.		Through the following 70 years, the ''Royal School of Sciences, Arts and Crafts'', later renamed the [[Imperial Academy of Fine Arts (Brazil)\|Imperial Academy of Fine Arts]], would dictate the standards in art, a mixed trend of [[Neoclassicism]], [[Brazilian Romanticism Painting\|Romanticism]], and [[Realism (arts)\|Realism]] with nationalist inclinations which would be the basis for the production of a large amount of canvases depicting the nation's history, battle scenes, landscapes, portraits, genre painting, and still lifes, and featuring national characters like black people and Indians. [[Victor Meirelles]], [[Pedro Américo]], W. Reichardt, and [[Almeida Junior]] were the leaders of such academic art, but this period also received important contributions from foreigners like [[Georg Grimm]], Augusto Müller, and Nicola Antonio Facchinetti.

	In 1889 the monarchy was abolished, and the republican government renamed the Imperial Academy the National School of the Fine Arts, which would be short-lived, absorbed in 1931 by the [[Federal University of Rio de Janeiro]]. Meanwhile, [[Modernism]] was already being cultivated in [[São Paulo]] and by some academic painters, and the new movement superseded [[Academicism]]. In 1922 the event called ''[[Week of Modern Art]]'' broke definitely with academic tradition and started a nationalist trend which was, however, influenced by [[Primitivism]] and by European [[Expressionism]], [[Surrealism]] and [[Cubism]]. [[Anita Malfatti]], [[Ismael Nery]], [[Lasar Segall]], [[Emiliano di Cavalcanti]], [[Vicente do Rego Monteiro]], and [[Tarsila do Amaral]] wrought major changes in painting, while groups like [[Grupo Santa Helena\|Santa Helena]] and Núcleo Bernardelli evolved toward a moderate interpretation of Modernism, with important artists such as [[Aldo Bonadei]] and [[José Pancetti]]. [[Cândido Portinari]] is the best example of this last tendency. Under government patronage he dominated Brazilian painting in the mid-20th century until [[Abstractionism]] showed up in the 1950s.		In 1889 the monarchy was abolished, and the republican government renamed the Imperial Academy the National School of the Fine Arts, which would be short-lived, absorbed in 1931 by the [[Federal University of Rio de Janeiro]]. Meanwhile, [[Modernism]] was already being cultivated in [[São Paulo]] and by some academic painters, and the new movement superseded [[Academicism]]. In 1922 the event called ''[[Week of Modern Art]]'' broke definitely with academic tradition and started a nationalist trend which was, however, influenced by [[Primitivism]] and by European [[Expressionism]], [[Surrealism]] and [[Cubism]]. [[Anita Malfatti]], [[Ismael Nery]], [[Lasar Segall]], [[Emiliano di Cavalcanti]], [[Vicente do Rego Monteiro]], and [[Tarsila do Amaral]] wrought major changes in painting, while groups like [[Grupo Santa Helena\|Santa Helena]] and Núcleo Bernardelli evolved toward a moderate interpretation of Modernism, with important artists such as [[Aldo Bonadei]] and [[José Pancetti]]. [[Cândido Portinari]] is the best example of this last tendency. Under government patronage he dominated Brazilian painting in the mid-20th century until [[Abstractionism]] showed up in the 1950s.

Racnela21 at 17:18, 15 October 2022

2022-10-15T17:18:14Z

← Previous revision		Revision as of 17:18, 15 October 2022
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	A sudden break with the Baroque tradition was imposed on the art of the nation by the arrival of the Portuguese court in 1808, fleeing the French invasion of Portugal. However, Baroque painting still survived in many places until the end of the 19th century. In 1816, the king, [[John VI of Portugal\|John VI]], supported the project of creating a national Academy at the suggestion of some French artists led by [[Joachim Lebreton]], a group later known as the [[Missão Artística Francesa\|French Artistic Mission]]. They were instrumental in introducing the [[Neoclassicism\|Neoclassical]] style and a new concept of artistic education mirroring the European academies, being the first teachers at the newly founded school of art.		A sudden break with the Baroque tradition was imposed on the art of the nation by the arrival of the Portuguese court in 1808, fleeing the French invasion of Portugal. However, Baroque painting still survived in many places until the end of the 19th century. In 1816, the king, [[John VI of Portugal\|John VI]], supported the project of creating a national Academy at the suggestion of some French artists led by [[Joachim Lebreton]], a group later known as the [[Missão Artística Francesa\|French Artistic Mission]]. They were instrumental in introducing the [[Neoclassicism\|Neoclassical]] style and a new concept of artistic education mirroring the European academies, being the first teachers at the newly founded school of art.

	Through the following 70 years, the ''Royal School of Sciences, Arts and Crafts'', later renamed the [[Imperial Academy of Fine Arts (Brazil)\|Imperial Academy of Fine Arts]], would dictate the standards in art, a mixed trend of Neoclassicism, [[Romanticism]], and [[Realism (arts)\|Realism]] with nationalist inclinations which would be the basis for the production of a large amount of canvases depicting the nation's history, battle scenes, landscapes, portraits, genre painting, and still lifes, and featuring national characters like black people and Indians. [[Victor Meirelles]], [[Pedro Américo]], W. Reichardt, and [[Almeida Junior]] were the leaders of such academic art, but this period also received important contributions from foreigners like [[Georg Grimm]], Augusto Müller, and Nicola Antonio Facchinetti.		Through the following 70 years, the ''Royal School of Sciences, Arts and Crafts'', later renamed the [[Imperial Academy of Fine Arts (Brazil)\|Imperial Academy of Fine Arts]], would dictate the standards in art, a mixed trend of Neoclassicism, [[Brazilian Romanticism Painting\|Romanticism]], and [[Realism (arts)\|Realism]] with nationalist inclinations which would be the basis for the production of a large amount of canvases depicting the nation's history, battle scenes, landscapes, portraits, genre painting, and still lifes, and featuring national characters like black people and Indians. [[Victor Meirelles]], [[Pedro Américo]], W. Reichardt, and [[Almeida Junior]] were the leaders of such academic art, but this period also received important contributions from foreigners like [[Georg Grimm]], Augusto Müller, and Nicola Antonio Facchinetti.

	In 1889 the monarchy was abolished, and the republican government renamed the Imperial Academy the National School of the Fine Arts, which would be short-lived, absorbed in 1931 by the [[Federal University of Rio de Janeiro]]. Meanwhile, [[Modernism]] was already being cultivated in [[São Paulo]] and by some academic painters, and the new movement superseded [[Academicism]]. In 1922 the event called ''[[Week of Modern Art]]'' broke definitely with academic tradition and started a nationalist trend which was, however, influenced by [[Primitivism]] and by European [[Expressionism]], [[Surrealism]] and [[Cubism]]. [[Anita Malfatti]], [[Ismael Nery]], [[Lasar Segall]], [[Emiliano di Cavalcanti]], [[Vicente do Rego Monteiro]], and [[Tarsila do Amaral]] wrought major changes in painting, while groups like [[Grupo Santa Helena\|Santa Helena]] and Núcleo Bernardelli evolved toward a moderate interpretation of Modernism, with important artists such as [[Aldo Bonadei]] and [[José Pancetti]]. [[Cândido Portinari]] is the best example of this last tendency. Under government patronage he dominated Brazilian painting in the mid-20th century until [[Abstractionism]] showed up in the 1950s.		In 1889 the monarchy was abolished, and the republican government renamed the Imperial Academy the National School of the Fine Arts, which would be short-lived, absorbed in 1931 by the [[Federal University of Rio de Janeiro]]. Meanwhile, [[Modernism]] was already being cultivated in [[São Paulo]] and by some academic painters, and the new movement superseded [[Academicism]]. In 1922 the event called ''[[Week of Modern Art]]'' broke definitely with academic tradition and started a nationalist trend which was, however, influenced by [[Primitivism]] and by European [[Expressionism]], [[Surrealism]] and [[Cubism]]. [[Anita Malfatti]], [[Ismael Nery]], [[Lasar Segall]], [[Emiliano di Cavalcanti]], [[Vicente do Rego Monteiro]], and [[Tarsila do Amaral]] wrought major changes in painting, while groups like [[Grupo Santa Helena\|Santa Helena]] and Núcleo Bernardelli evolved toward a moderate interpretation of Modernism, with important artists such as [[Aldo Bonadei]] and [[José Pancetti]]. [[Cândido Portinari]] is the best example of this last tendency. Under government patronage he dominated Brazilian painting in the mid-20th century until [[Abstractionism]] showed up in the 1950s.

Racnela21: /* See also */

2022-10-15T17:08:32Z

Ffffrr: Importing Wikidata short description: "History of painting in Brazil"

2022-07-18T17:15:17Z

Importing Wikidata short description: "History of painting in Brazil"

← Previous revision		Revision as of 17:15, 18 July 2022
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			{{Short description\|History of painting in Brazil}}
	[[File:Pedro alvares cabral discovery of brazil 1500.jpg\|thumb\|right\|Painting of [[Pedro Álvares Cabral]], the discovery of Brazil in 1500. Pedro Álvares Cabral sees the land that would later be known as Brazil for the first time.]]		[[File:Pedro alvares cabral discovery of brazil 1500.jpg\|thumb\|right\|Painting of [[Pedro Álvares Cabral]], the discovery of Brazil in 1500. Pedro Álvares Cabral sees the land that would later be known as Brazil for the first time.]]
	[[File:Os emigrantes.jpg\|thumb\|right\|Antonio Rocco: ''The immigrants'', 1910. It portrays [[immigration to Brazil]].]]		[[File:Os emigrantes.jpg\|thumb\|right\|Antonio Rocco: ''The immigrants'', 1910. It portrays [[immigration to Brazil]].]]

66.97.144.2: /* Before the Portuguese discovery */

2022-06-03T17:29:02Z

Before the Portuguese discovery

← Previous revision		Revision as of 17:29, 3 June 2022
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	[[File:Serra da Capivara - Several Paintings 2.jpg\|thumb\|left\|Prehistoric paintings at [[Serra da Capivara National Park]].]]		[[File:Serra da Capivara - Several Paintings 2.jpg\|thumb\|left\|Prehistoric paintings at [[Serra da Capivara National Park]].]]

	Relatively little is known in respect to the pictorial art practiced in Brazil before the Portuguese discovery of the territory. The [[indigenous people]] the colonizers encountered did not practice painting as it was known in Europe, using paint for bodily decoration and the decoration of ceramic artifacts. Among the indigenous relics that survived this era, a good collection of pieces from the [[Marajoara]], [[Tapajós]] and [[Santarém, Pará\|Santarém]] cultures stand out, but the ceramic tradition as much as that of body painting have been preserved by the indigenous that still reside in Brazil, the elements among them being some of the most distinctive of their cultures. There also exist diverse painted panels of hunting scenes and other figures created by [[pre-historic peoples]] in caves and on rock walls in certain [[archeological sites]].		Relatively little is known in respect to the pictorial art practiced in Brazil before the Portuguese discovery of the territory. The [[indigenous people]] the colonizers encountered did not practice painting as it was known in Europe, using paint for bodily decoration and the decoration of ceramic artifacts. Among the indigenous relics that survived this era, a good collection of pieces from the [[Marajoara]], [[Tapajós]] and [[Santarém, Pará\|Santarém]] cultures stand out, but the ceramic tradition as much as that of body painting have been preserved by the indigenous that still reside in Brazil, the elements among them being some of the most distinctive of their cultures. There also exist diverse painted panels of hunting scenes and other figures created by pre-historic peoples in caves and on rock walls in certain [[archeological sites]].

	These paintings probably had ritual functions and would have been seen as endowed with magical powers, capable of capturing the souls of depicted animals and therefore allowing for successful hunts. The most ancient complex of sites known is that of the [[Serra da Capivara]], at [[Piauí]], which exhibits painted remains dated 32 thousand years ago. None of these traditions, however, was incorporated into the artistic current introduced by the Portuguese colonizers, which became predominant. As [[Roberto Burle Marx]] put it, the art of [[colonial Brazil]] is, in every sense, art of the Portuguese mother country, although on Brazilian soil various imposed adaptations have occurred through the specific local circumstances of the colonial process.		These paintings probably had ritual functions and would have been seen as endowed with magical powers, capable of capturing the souls of depicted animals and therefore allowing for successful hunts. The most ancient complex of sites known is that of the [[Serra da Capivara]], at [[Piauí]], which exhibits painted remains dated 32 thousand years ago. None of these traditions, however, was incorporated into the artistic current introduced by the Portuguese colonizers, which became predominant. As [[Roberto Burle Marx]] put it, the art of [[colonial Brazil]] is, in every sense, art of the Portuguese mother country, although on Brazilian soil various imposed adaptations have occurred through the specific local circumstances of the colonial process.

66.97.144.2 at 17:28, 3 June 2022

2022-06-03T17:28:40Z

Show changes

← Previous revision		Revision as of 22:04, 7 August 2024
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			{{short description\|none}} <!-- "none" is preferred when the title is sufficiently descriptive; see [[WP:SDNONE]] -->
	{{Short description\|History of painting in Brazil}}
	[[File:Pedro alvares cabral discovery of brazil 1500.jpg\|thumb\|right\|Painting of [[Pedro Álvares Cabral]], the discovery of Brazil in 1500. Pedro Álvares Cabral sees the land that would later be known as Brazil for the first time.]]		[[File:Pedro alvares cabral discovery of brazil 1500.jpg\|thumb\|right\|Painting of [[Pedro Álvares Cabral]], the discovery of Brazil in 1500. Pedro Álvares Cabral sees the land that would later be known as Brazil for the first time.]]
	[[File:Os emigrantes.jpg\|thumb\|right\|Antonio Rocco: ''The immigrants'', 1910. It portrays [[immigration to Brazil]].]]		[[File:Os emigrantes.jpg\|thumb\|right\|Antonio Rocco: ''The immigrants'', 1910. It portrays [[immigration to Brazil]].]]

← Previous revision		Revision as of 17:18, 15 October 2022
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	A sudden break with the Baroque tradition was imposed on the art of the nation by the arrival of the Portuguese court in 1808, fleeing the French invasion of Portugal. However, Baroque painting still survived in many places until the end of the 19th century. In 1816, the king, [[John VI of Portugal\|John VI]], supported the project of creating a national Academy at the suggestion of some French artists led by [[Joachim Lebreton]], a group later known as the [[Missão Artística Francesa\|French Artistic Mission]]. They were instrumental in introducing the [[Neoclassicism\|Neoclassical]] style and a new concept of artistic education mirroring the European academies, being the first teachers at the newly founded school of art.		A sudden break with the Baroque tradition was imposed on the art of the nation by the arrival of the Portuguese court in 1808, fleeing the French invasion of Portugal. However, Baroque painting still survived in many places until the end of the 19th century. In 1816, the king, [[John VI of Portugal\|John VI]], supported the project of creating a national Academy at the suggestion of some French artists led by [[Joachim Lebreton]], a group later known as the [[Missão Artística Francesa\|French Artistic Mission]]. They were instrumental in introducing the [[Neoclassicism\|Neoclassical]] style and a new concept of artistic education mirroring the European academies, being the first teachers at the newly founded school of art.

	Through the following 70 years, the ''Royal School of Sciences, Arts and Crafts'', later renamed the [[Imperial Academy of Fine Arts (Brazil)\|Imperial Academy of Fine Arts]], would dictate the standards in art, a mixed trend of Neoclassicism, [[Brazilian Romanticism Painting\|Romanticism]], and [[Realism (arts)\|Realism]] with nationalist inclinations which would be the basis for the production of a large amount of canvases depicting the nation's history, battle scenes, landscapes, portraits, genre painting, and still lifes, and featuring national characters like black people and Indians. [[Victor Meirelles]], [[Pedro Américo]], W. Reichardt, and [[Almeida Junior]] were the leaders of such academic art, but this period also received important contributions from foreigners like [[Georg Grimm]], Augusto Müller, and Nicola Antonio Facchinetti.		Through the following 70 years, the ''Royal School of Sciences, Arts and Crafts'', later renamed the [[Imperial Academy of Fine Arts (Brazil)\|Imperial Academy of Fine Arts]], would dictate the standards in art, a mixed trend of [[Neoclassicism]], [[Brazilian Romanticism Painting\|Romanticism]], and [[Realism (arts)\|Realism]] with nationalist inclinations which would be the basis for the production of a large amount of canvases depicting the nation's history, battle scenes, landscapes, portraits, genre painting, and still lifes, and featuring national characters like black people and Indians. [[Victor Meirelles]], [[Pedro Américo]], W. Reichardt, and [[Almeida Junior]] were the leaders of such academic art, but this period also received important contributions from foreigners like [[Georg Grimm]], Augusto Müller, and Nicola Antonio Facchinetti.

	In 1889 the monarchy was abolished, and the republican government renamed the Imperial Academy the National School of the Fine Arts, which would be short-lived, absorbed in 1931 by the [[Federal University of Rio de Janeiro]]. Meanwhile, [[Modernism]] was already being cultivated in [[São Paulo]] and by some academic painters, and the new movement superseded [[Academicism]]. In 1922 the event called ''[[Week of Modern Art]]'' broke definitely with academic tradition and started a nationalist trend which was, however, influenced by [[Primitivism]] and by European [[Expressionism]], [[Surrealism]] and [[Cubism]]. [[Anita Malfatti]], [[Ismael Nery]], [[Lasar Segall]], [[Emiliano di Cavalcanti]], [[Vicente do Rego Monteiro]], and [[Tarsila do Amaral]] wrought major changes in painting, while groups like [[Grupo Santa Helena\|Santa Helena]] and Núcleo Bernardelli evolved toward a moderate interpretation of Modernism, with important artists such as [[Aldo Bonadei]] and [[José Pancetti]]. [[Cândido Portinari]] is the best example of this last tendency. Under government patronage he dominated Brazilian painting in the mid-20th century until [[Abstractionism]] showed up in the 1950s.		In 1889 the monarchy was abolished, and the republican government renamed the Imperial Academy the National School of the Fine Arts, which would be short-lived, absorbed in 1931 by the [[Federal University of Rio de Janeiro]]. Meanwhile, [[Modernism]] was already being cultivated in [[São Paulo]] and by some academic painters, and the new movement superseded [[Academicism]]. In 1922 the event called ''[[Week of Modern Art]]'' broke definitely with academic tradition and started a nationalist trend which was, however, influenced by [[Primitivism]] and by European [[Expressionism]], [[Surrealism]] and [[Cubism]]. [[Anita Malfatti]], [[Ismael Nery]], [[Lasar Segall]], [[Emiliano di Cavalcanti]], [[Vicente do Rego Monteiro]], and [[Tarsila do Amaral]] wrought major changes in painting, while groups like [[Grupo Santa Helena\|Santa Helena]] and Núcleo Bernardelli evolved toward a moderate interpretation of Modernism, with important artists such as [[Aldo Bonadei]] and [[José Pancetti]]. [[Cândido Portinari]] is the best example of this last tendency. Under government patronage he dominated Brazilian painting in the mid-20th century until [[Abstractionism]] showed up in the 1950s.

← Previous revision		Revision as of 17:18, 15 October 2022
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	A sudden break with the Baroque tradition was imposed on the art of the nation by the arrival of the Portuguese court in 1808, fleeing the French invasion of Portugal. However, Baroque painting still survived in many places until the end of the 19th century. In 1816, the king, [[John VI of Portugal\|John VI]], supported the project of creating a national Academy at the suggestion of some French artists led by [[Joachim Lebreton]], a group later known as the [[Missão Artística Francesa\|French Artistic Mission]]. They were instrumental in introducing the [[Neoclassicism\|Neoclassical]] style and a new concept of artistic education mirroring the European academies, being the first teachers at the newly founded school of art.		A sudden break with the Baroque tradition was imposed on the art of the nation by the arrival of the Portuguese court in 1808, fleeing the French invasion of Portugal. However, Baroque painting still survived in many places until the end of the 19th century. In 1816, the king, [[John VI of Portugal\|John VI]], supported the project of creating a national Academy at the suggestion of some French artists led by [[Joachim Lebreton]], a group later known as the [[Missão Artística Francesa\|French Artistic Mission]]. They were instrumental in introducing the [[Neoclassicism\|Neoclassical]] style and a new concept of artistic education mirroring the European academies, being the first teachers at the newly founded school of art.

	Through the following 70 years, the ''Royal School of Sciences, Arts and Crafts'', later renamed the [[Imperial Academy of Fine Arts (Brazil)\|Imperial Academy of Fine Arts]], would dictate the standards in art, a mixed trend of Neoclassicism, [[Romanticism]], and [[Realism (arts)\|Realism]] with nationalist inclinations which would be the basis for the production of a large amount of canvases depicting the nation's history, battle scenes, landscapes, portraits, genre painting, and still lifes, and featuring national characters like black people and Indians. [[Victor Meirelles]], [[Pedro Américo]], W. Reichardt, and [[Almeida Junior]] were the leaders of such academic art, but this period also received important contributions from foreigners like [[Georg Grimm]], Augusto Müller, and Nicola Antonio Facchinetti.		Through the following 70 years, the ''Royal School of Sciences, Arts and Crafts'', later renamed the [[Imperial Academy of Fine Arts (Brazil)\|Imperial Academy of Fine Arts]], would dictate the standards in art, a mixed trend of Neoclassicism, [[Brazilian Romanticism Painting\|Romanticism]], and [[Realism (arts)\|Realism]] with nationalist inclinations which would be the basis for the production of a large amount of canvases depicting the nation's history, battle scenes, landscapes, portraits, genre painting, and still lifes, and featuring national characters like black people and Indians. [[Victor Meirelles]], [[Pedro Américo]], W. Reichardt, and [[Almeida Junior]] were the leaders of such academic art, but this period also received important contributions from foreigners like [[Georg Grimm]], Augusto Müller, and Nicola Antonio Facchinetti.

	In 1889 the monarchy was abolished, and the republican government renamed the Imperial Academy the National School of the Fine Arts, which would be short-lived, absorbed in 1931 by the [[Federal University of Rio de Janeiro]]. Meanwhile, [[Modernism]] was already being cultivated in [[São Paulo]] and by some academic painters, and the new movement superseded [[Academicism]]. In 1922 the event called ''[[Week of Modern Art]]'' broke definitely with academic tradition and started a nationalist trend which was, however, influenced by [[Primitivism]] and by European [[Expressionism]], [[Surrealism]] and [[Cubism]]. [[Anita Malfatti]], [[Ismael Nery]], [[Lasar Segall]], [[Emiliano di Cavalcanti]], [[Vicente do Rego Monteiro]], and [[Tarsila do Amaral]] wrought major changes in painting, while groups like [[Grupo Santa Helena\|Santa Helena]] and Núcleo Bernardelli evolved toward a moderate interpretation of Modernism, with important artists such as [[Aldo Bonadei]] and [[José Pancetti]]. [[Cândido Portinari]] is the best example of this last tendency. Under government patronage he dominated Brazilian painting in the mid-20th century until [[Abstractionism]] showed up in the 1950s.		In 1889 the monarchy was abolished, and the republican government renamed the Imperial Academy the National School of the Fine Arts, which would be short-lived, absorbed in 1931 by the [[Federal University of Rio de Janeiro]]. Meanwhile, [[Modernism]] was already being cultivated in [[São Paulo]] and by some academic painters, and the new movement superseded [[Academicism]]. In 1922 the event called ''[[Week of Modern Art]]'' broke definitely with academic tradition and started a nationalist trend which was, however, influenced by [[Primitivism]] and by European [[Expressionism]], [[Surrealism]] and [[Cubism]]. [[Anita Malfatti]], [[Ismael Nery]], [[Lasar Segall]], [[Emiliano di Cavalcanti]], [[Vicente do Rego Monteiro]], and [[Tarsila do Amaral]] wrought major changes in painting, while groups like [[Grupo Santa Helena\|Santa Helena]] and Núcleo Bernardelli evolved toward a moderate interpretation of Modernism, with important artists such as [[Aldo Bonadei]] and [[José Pancetti]]. [[Cândido Portinari]] is the best example of this last tendency. Under government patronage he dominated Brazilian painting in the mid-20th century until [[Abstractionism]] showed up in the 1950s.

← Previous revision		Revision as of 17:08, 15 October 2022
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	*[[Brazilian culture]]		*[[Brazilian culture]]
	*[[Brazilian art]]		*[[Brazilian art]]
			*[[Brazilian Romanticism Painting\|Brazilian Romanticism painting]]

	== References ==		== References ==

← Previous revision		Revision as of 17:15, 18 July 2022
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			{{Short description\|History of painting in Brazil}}
	[[File:Pedro alvares cabral discovery of brazil 1500.jpg\|thumb\|right\|Painting of [[Pedro Álvares Cabral]], the discovery of Brazil in 1500. Pedro Álvares Cabral sees the land that would later be known as Brazil for the first time.]]		[[File:Pedro alvares cabral discovery of brazil 1500.jpg\|thumb\|right\|Painting of [[Pedro Álvares Cabral]], the discovery of Brazil in 1500. Pedro Álvares Cabral sees the land that would later be known as Brazil for the first time.]]
	[[File:Os emigrantes.jpg\|thumb\|right\|Antonio Rocco: ''The immigrants'', 1910. It portrays [[immigration to Brazil]].]]		[[File:Os emigrantes.jpg\|thumb\|right\|Antonio Rocco: ''The immigrants'', 1910. It portrays [[immigration to Brazil]].]]