Name: DENISE MARIA CHANE BUZETTO
Publication date: 06/06/2014
Advisor:
Name |
Role |
|---|---|
| APARECIDO JOSE CIRILO | Advisor * |
Examining board:
| Name |
Role |
|---|---|
| ANGELA MARIA GRANDO BEZERRA | Internal Examiner * |
| APARECIDO JOSE CIRILO | Advisor * |
Summary: This paper addresses the thematic paintings of interiors, its object of study is the presence of the chair bent wood type Thonet , an inserted object in domestic work The Annoying, José Ferraz de Almeida Júnior (1859-1899), as index, a contamination of the modernist spirit, a presence of modernity in the work of this Brazilian painter of the nineteenth century. The problem arises from the question: what are likely to be established from the verification of the presence of a bent wood chair relationships - which becomes icon of modernity in the work of an academic painter? Therefore, the aim of this research is to examine the chair bent wood as the object of modernity, as household object that is contained in the interior painting work on The Annoying, seeking to establish relationships that could put it as a modernist outsider in the academic work of painter studied. The research is exploratory in nature, taking the form of literature and field research , with a qualitative approach . Data were collected during the period from May 2012 to January 2014 through observation - assessment and analysis of the study object in the Exhibition Pinacoteca do Estado de São Paulo, and especially references - the survey included the contribution of some authors who promote the theme proposed, including: Marize Malta, Featured, Karin Philippov, Jorge coli, Benet Phyllis Oates, Gaston Bachelard, Fernando Novais and Rafael Cardoso Denis. The work of designing object of desire presented by Malta, related to the perception of the other authors under the theme - interior painting. It was concluded that the bent wood chair present in the work The Annoying is revealed from its modern production process of a possible indication of this modernity in veiled form in this work of an academic painter, almost an outsider in painting .
