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Jaume Adrover, Maria Magdalena - One of the best experts on this subject based on the ideXlab platform.
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Sobre el proceso. La Verdure, 1935-1943. Un cuadro de Henri Matisse
'Edicions de la Universitat de Barcelona', 2014Co-Authors: Jaume Adrover, Maria MagdalenaAbstract:[spa] El objeto de estudio de esta tesis es la tela La Verdure, una pintura al óleo sobre lienzo, de 2,45 m de alto y 1,95 m de ancho, que Matisse inició como proyecto de tapiz, en agosto de 1935 y que trabajó hasta 1943, expuesta hoy en el Musée Matisse de Niza. La investigación parte de los documentos que intervinieron en el trabajo o que salieron de él, para tratar de reconstruir el proceso que fue necesario para la materialización de esta pintura. El primer acercamiento a la obra ha sido intentar comprender cómo se ha llegado a ese resultado, al lienzo de hoy, y no a otro; en la descripción se han tratado de desvelar sus detalles más significativos, no con el objetivo de desvelar la pintura, ni de resolverla como enigma, sino de verla con más claridad. El análisis se centra en cuestiones técnicas, cuantificables y verificables, dentro del límite de lo estrictamente material, pero ensayando las posibles motivaciones que llevaron a La Verdure a ser una obra clave para Matisse, definida por él mismo como la representación de su actitud frente al oficio. “El creador de un cuadro o cualquier otro artefacto histórico es un hombre que aborda un problema cuya solución concreta y terminada es ese cuadro” (Baxandall). La obra que hoy cuelga de las paredes del Musée de Niza no es más que el último estado del cuadro que Matisse dejó interrumpido. Para poder localizar cuáles fueron las dificultades, los contratiempos y obstáculos a los que respondía, la tesis reconstruye, con el evidente margen de hipótesis, los momentos en que la obra se encontraba aún sobre el caballete, con la pintura fresca. La pintura se aborda como lo haría un pintor, no como un historiador, para deducir cuáles fueron los problemas a los que se enfrentó Matisse, las pinceladas que borró, las intenciones frustradas y los inesperados descubrimientos, su sucesión en otras obras. La ausencia de los rastros de su transformación, inevitable al tratarse de técnicas pictóricas que superponen los cambios unos sobre otros, borrando estados anteriores, dificulta la reconstrucción de las transformaciones por las que pasó el lienzo. Pero otros documentos suplen esa falta de material: testimonios de quienes participaron en su creación: ayudantes, modelos, familiares, clientes, amigos; registros fotográficos de diferentes estados; dibujos o pinturas preparatorios; otras obras que estuvieron en el origen, que sirvieron de tanteo durante el proceso, para proponer y resolver la misma dificultad encontrada; obras posteriores, en las que el pintor insistió en la misma expresión o en resolver los mismos problemas pictóricos. Como ha enseñado Baxnadall, se considera la obra como una respuesta dada a las dificultades del autor, entre las cuales forman parte tanto sus ´habilidades’ como sus ‘manías’. Encontrar dentro de una obra concreta, La Verdure, la totalidad de la obra de su autor, la totalidad del arte de su época, y la totalidad de la historia del arte: como proponía Walter Benjamin.[eng] The object of study in this thesis is the painting La Verdure, oil on canvas, the measures are: 2,45 m x 1, 95 m, a tapestry project, in august 1935. The painting, which is exhibited in the Matisse’s first purpose, was as Musée Matisse in Nice was finished in 1943. The investigation comes out from all the documents that were involved in the settlement of this work. Also to try to rebuild all the process needed to realize this picture. The analysis is centred on countable and verifiable technical item, within the limits of the material, trying all the possible causes that drove La Verdure to be the main work to Matisse, who explained it was the true representation of his own attitude in front of his trade. The painting that is on the wall of the Musée Matisse in Nice, is nothing but how Matisse left it, that is interrupted. The thesis try to rebuild all the difficulties he might have had, all the answers he could find to the contretemps and obstacles. Of course with all the evident margin of hypothesis, this thesis intends to catch the process of the painting when it still was on the stall. The lacks of tracks in this process are inevitable, as far as pictorical techniques are well known to be over painting, that is making changes over the previous painting. It is obvious how difficult is to rebuild the different states that the painting came trough. Other documents tend to supply the lack of material: witnesses who shared in the development of the picture: assistants, models, relatives, clients, friends, different kinds of photographical records: drawings, sketching, other works that were in the process, in the very beginning to propose and solve any kind of problem that could appear; some posterior works in which the artist insisted in the same expression or even how to solve the same kind of pictorical troubles
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Sobre el proceso. La Verdure, 1935-1943. Un cuadro de Henri Matisse
'Edicions de la Universitat de Barcelona', 2013Co-Authors: Jaume Adrover, Maria MagdalenaAbstract:El objeto de estudio de esta tesis es la tela La Verdure, una pintura al óleo sobre lienzo, de 2,45 m de alto y 1,95 m de ancho, que Matisse inició como proyecto de tapiz, en agosto de 1935 y que trabajó hasta 1943, expuesta hoy en el Musée Matisse de Niza. La investigación parte de los documentos que intervinieron en el trabajo o que salieron de él, para tratar de reconstruir el proceso que fue necesario para la materialización de esta pintura. El primer acercamiento a la obra ha sido intentar comprender cómo se ha llegado a ese resultado, al lienzo de hoy, y no a otro; en la descripción se han tratado de desvelar sus detalles más significativos, no con el objetivo de desvelar la pintura, ni de resolverla como enigma, sino de verla con más claridad. El análisis se centra en cuestiones técnicas, cuantificables y verificables, dentro del límite de lo estrictamente material, pero ensayando las posibles motivaciones que llevaron a La Verdure a ser una obra clave para Matisse, definida por él mismo como la representación de su actitud frente al oficio. “El creador de un cuadro o cualquier otro artefacto histórico es un hombre que aborda un problema cuya solución concreta y terminada es ese cuadro” (Baxandall). La obra que hoy cuelga de las paredes del Musée de Niza no es más que el último estado del cuadro que Matisse dejó interrumpido. Para poder localizar cuáles fueron las dificultades, los contratiempos y obstáculos a los que respondía, la tesis reconstruye, con el evidente margen de hipótesis, los momentos en que la obra se encontraba aún sobre el caballete, con la pintura fresca. La pintura se aborda como lo haría un pintor, no como un historiador, para deducir cuáles fueron los problemas a los que se enfrentó Matisse, las pinceladas que borró, las intenciones frustradas y los inesperados descubrimientos, su sucesión en otras obras. La ausencia de los rastros de su transformación, inevitable al tratarse de técnicas pictóricas que superponen los cambios unos sobre otros, borrando estados anteriores, dificulta la reconstrucción de las transformaciones por las que pasó el lienzo. Pero otros documentos suplen esa falta de material: testimonios de quienes participaron en su creación: ayudantes, modelos, familiares, clientes, amigos; registros fotográficos de diferentes estados; dibujos o pinturas preparatorios; otras obras que estuvieron en el origen, que sirvieron de tanteo durante el proceso, para proponer y resolver la misma dificultad encontrada; obras posteriores, en las que el pintor insistió en la misma expresión o en resolver los mismos problemas pictóricos. Como ha enseñado Baxnadall, se considera la obra como una respuesta dada a las dificultades del autor, entre las cuales forman parte tanto sus ´habilidades’ como sus ‘manías’. Encontrar dentro de una obra concreta, La Verdure, la totalidad de la obra de su autor, la totalidad del arte de su época, y la totalidad de la historia del arte: como proponía Walter Benjamin.The object of study in this thesis is the painting La Verdure, oil on canvas, the measures are: 2,45 m x 1, 95 m, a tapestry project, in august 1935. The painting, which is exhibited in the Matisse’s first purpose, was as Musée Matisse in Nice was finished in 1943. The investigation comes out from all the documents that were involved in the settlement of this work. Also to try to rebuild all the process needed to realize this picture. The analysis is centred on countable and verifiable technical item, within the limits of the material, trying all the possible causes that drove La Verdure to be the main work to Matisse, who explained it was the true representation of his own attitude in front of his trade. The painting that is on the wall of the Musée Matisse in Nice, is nothing but how Matisse left it, that is interrupted. The thesis try to rebuild all the difficulties he might have had, all the answers he could find to the contretemps and obstacles. Of course with all the evident margin of hypothesis, this thesis intends to catch the process of the painting when it still was on the stall. The lacks of tracks in this process are inevitable, as far as pictorical techniques are well known to be over painting, that is making changes over the previous painting. It is obvious how difficult is to rebuild the different states that the painting came trough. Other documents tend to supply the lack of material: witnesses who shared in the development of the picture: assistants, models, relatives, clients, friends, different kinds of photographical records: drawings, sketching, other works that were in the process, in the very beginning to propose and solve any kind of problem that could appear; some posterior works in which the artist insisted in the same expression or even how to solve the same kind of pictorical troubles
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¿De qué esta hecho un cuadro? Henri Matisse, La Verdure, 1935-1943 (245x195 cm)
1Co-Authors: Jaume Adrover, Maria MagdalenaAbstract:[eng]The analysis is centred on countable and verifiable technical item, within the limits of the material, trying all the possible causes that drove La Verdure to be the main work to Matisse, who explained it was the true representation of his own attitude in front of his trade. The painting that is on the wall of the Musée Matisse in Nice, is nothing but how Matisse left it, that is interrupted. This study try to rebuild all the difficulties he might have had, all the answers he could find to the contretemps and obstacles. [spa]El análisis ensaya las posibles motivaciones que llevaron a La Verdure a ser una obra clave para Matisse. Se centra en cuestiones técnicas, cuantificables y verificables, dentro del límite de lo estrictamente material. La pintura se mira como lo haría un pintor, para deducir cuáles fueron los problemas a los que se enfrentó Matisse, las pinceladas que borró, las intenciones frustradas y los inesperados descubrimientos, su sucesión en otras obras. Como ha enseñado Baxandall, se considera la obra como una respuesta dada a las dificultades del autor, entre las cuales forman parte tanto sus ´habilidades' como sus 'manías'. Encontrar dentro de una obra concreta, La Verdure, la totalidad de la obra de su autor, la totalidad del arte de su época, y la totalidad de la historia del arte: como proponía Walter Benjamin Palavras chave: Matisse, Cézanne, Pintura, Arte Moderno
Lennart Nygren - One of the best experts on this subject based on the ideXlab platform.
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review of phineas Baxandall constructing unemployment the politics of joblessness in east and west
European Journal of Social Work, 2007Co-Authors: Lennart NygrenAbstract:Review of Phineas Baxandall: Constructing unemployment. The politics of joblessness in East and West
Teles, Sílvia Maria Brandão - One of the best experts on this subject based on the ideXlab platform.
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José Cláudio da Silva: um resgate do trabalho desenvolvido durante as atividades do Atelier Coletivo - 1952 a 1957.
UFPB, 2013Co-Authors: Teles, Sílvia Maria BrandãoAbstract:The consolidation of modern aesthetics in the city of Recife, Pernambuco State, occurred through discussions and positions on the ideas proposed by modernism, had been discussed earlier the same week of 1922. Research and studies conducted by sociologist Gilberto Freyre, since the early 1920s, proposed a gaze directed to the artistic aspects more regional valorize local characteristics. In contrast, the journalist Joaquim Inojosa brought questions that reinforced the acceptance of the modernist ideal start in Sao Paulo. Such discussions lasted for decades to come, influencing artists and intellectuals. Our work aims to investigate the production of artist José Cláudio, specifically between the years 1952 to 1957, during the term of a common work, called Atelier Collective, extension of the Society of Modern Art in Recife - space, where such reflections were being discussed. The research develops from a redemption of primary sources such as documents the artist, semi-structured interviews with him and some artists who were present at that time. The production of José Cláudio period highlighted was identified and cataloged, and analytical reading based on historical events, proposed by historian Michael Baxandall concludes our work. We observed that the work of José Cláudio presents a path marked by the achievement of his artistic identity, allowing it to several challenging experiences and conflicting, individual and collective.Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPESO processo de consolidação da estética moderna na cidade do Recife e no Estado de Pernambuco, ocorrido por meio de discussões e posicionamentos acerca das ideias propostas pelo modernismo, vinha sendo discutido antes mesmo da semana de 1922. Pesquisas e estudos realizados pelo sociólogo Gilberto Freyre, desde o início da década de 1920, propuseram um olhar direcionado para aspectos artísticos mais regionais que valorizassem as características locais. Em contrapartida, o jornalista Joaquim Inojosa trouxe questionamentos que reforçavam a aceitação do ideal modernista iniciado em São Paulo. Tais discussões perduraram nas décadas seguintes, influenciando artistas e intelectuais. O nosso trabalho se propõe a investigar a produção do artista José Cláudio, especificamente entre os anos de 1952 a 1957, durante a vigência de um espaço comum de trabalho, denominado Atelier Coletivo, extensão da Sociedade de Arte Moderna do Recife espaço, onde tais reflexões vinham sendo discutidas. A investigação desenvolve-se a partir de um resgate de fontes primárias, tais como documentos do artista, entrevistas semiestruturadas realizadas com ele e com alguns artistas que estiveram presentes naquele período. A produção de José Cláudio do período destacado foi identificada e catalogada, e uma leitura analítica baseada em acontecimentos históricos, proposta pelo historiador Michael Baxandall, finaliza o nosso trabalho. Observamos que a obra de José Cláudio apresenta um caminho marcado pela conquista de sua identidade artística, se permitindo à várias experiências desafiadoras e conflitantes, coletivas e individuais
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José Cláudio da Silva: um resgate do trabalho desenvolvido durante as atividades do Atelier Coletivo - 1952 a 1957.
Universidade Federal da Paraíba, 2013Co-Authors: Teles, Sílvia Maria BrandãoAbstract:O processo de consolidação da estética moderna na cidade do Recife e no Estado de Pernambuco, ocorrido por meio de discussões e posicionamentos acerca das ideias propostas pelo modernismo, vinha sendo discutido antes mesmo da semana de 1922. Pesquisas e estudos realizados pelo sociólogo Gilberto Freyre, desde o início da década de 1920, propuseram um olhar direcionado para aspectos artísticos mais regionais que valorizassem as características locais. Em contrapartida, o jornalista Joaquim Inojosa trouxe questionamentos que reforçavam a aceitação do ideal modernista iniciado em São Paulo. Tais discussões perduraram nas décadas seguintes, influenciando artistas e intelectuais. O nosso trabalho se propõe a investigar a produção do artista José Cláudio, especificamente entre os anos de 1952 a 1957, durante a vigência de um espaço comum de trabalho, denominado Atelier Coletivo, extensão da Sociedade de Arte Moderna do Recife espaço, onde tais reflexões vinham sendo discutidas. A investigação desenvolve-se a partir de um resgate de fontes primárias, tais como documentos do artista, entrevistas semiestruturadas realizadas com ele e com alguns artistas que estiveram presentes naquele período. A produção de José Cláudio do período destacado foi identificada e catalogada, e uma leitura analítica baseada em acontecimentos históricos, proposta pelo historiador Michael Baxandall, finaliza o nosso trabalho. Observamos que a obra de José Cláudio apresenta um caminho marcado pela conquista de sua identidade artística, se permitindo à várias experiências desafiadoras e conflitantes, coletivas e individuais.The consolidation of modern aesthetics in the city of Recife, Pernambuco State, occurred through discussions and positions on the ideas proposed by modernism, had been discussed earlier the same week of 1922. Research and studies conducted by sociologist Gilberto Freyre, since the early 1920s, proposed a gaze directed to the artistic aspects more regional valorize local characteristics. In contrast, the journalist Joaquim Inojosa brought questions that reinforced the acceptance of the modernist ideal start in Sao Paulo. Such discussions lasted for decades to come, influencing artists and intellectuals. Our work aims to investigate the production of artist José Cláudio, specifically between the years 1952 to 1957, during the term of a common work, called Atelier Collective, extension of the Society of Modern Art in Recife - space, where such reflections were being discussed. The research develops from a redemption of primary sources such as documents the artist, semi-structured interviews with him and some artists who were present at that time. The production of José Cláudio period highlighted was identified and cataloged, and analytical reading based on historical events, proposed by historian Michael Baxandall concludes our work. We observed that the work of José Cláudio presents a path marked by the achievement of his artistic identity, allowing it to several challenging experiences and conflicting, individual and collective
Heloisa Pontes - One of the best experts on this subject based on the ideXlab platform.
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ANTROPOLOGIA E HISTÓRIA SOCIAL DA CULTURA: ETNOGRAFIA E FONTES / Anthropology and social history of culture: Ethnography and sources
Museo de Antropologia, 2010Co-Authors: Heloisa PontesAbstract:Ciência das formas e dos fundamentos simbólicos da vida social, a antropologia não pode se furtar à análise do mundo da arte e dos campos especializados de produção cultural, como mostram estudos recentes de antropólogos envolvidos com o assunto e, indiretamente, de sociólogos e historiadores atentos ao entrelaçamento entre cultura, poder e simbolismo. Entre eles, Auerbach, Becker, Baxandall, Bourdieu, Geertz, Gell, Goody, Elias, Miceli, Schorske, Williams e Beatriz Sarlo, para mencionar um conjunto expressivo de autores que lidaram de maneira vigorosa com as questões da autonomia e dependência dos sistemas simbólicos. Se as trilhas abertas por esses autores não deixam dúvidas sobre a importância de se incluir a vida intelectual, a produção cultural especializada, o mundo da arte e seus praticantes, no âmbito dos objetos antropológicos, existem outras, relativas à correlação entre linguagem, processos sociais e etnografia, por um lado, e às lógicas simbólicas e sociais inscritas nas fontes (escritas ou orais), por outro lado, que serão abordadas no artigo.Palavras chaves: antropologia; história social; cultura; etnografias; fontes.AbstractScience of symbolic forms and foundations of social life, anthropology cannot give up to analyze art and other specialized fields of cultural production, this is the message conveyed by recent studies authored by anthropologists dealing with this universe, as well as those written by historians and sociologists who pay attention to the connections between culture, power and symbolism. Auerbach, Becker, Baxandall, Bourdieu, Geertz, Gell, Goody, Elias, Miceli, Schorske, Williams and Beatriz Sarlo: an impressive roster of authors who have been dealing, through creative insights, with the challenges concerning the autonomy and dependence of symbolic systems. Those specialists did not hesitate about the importance of including intellectual life, cultural production, art worlds and their practitioners, as legitimate anthropological objects. Other scholars have emphasized the links between language, social processes and ethnography, as well as those social and symbolic arrangements translated within the oral and written sources, the main subject of this article.Keywords: anthropology; social history; culture; ethnography; sources.
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Antropologia e história social da cultura: etnografia e fontes
Museo de Antropologia, 2010Co-Authors: Heloisa PontesAbstract:Science of symbolic forms and foundations of social life, anthropology cannot give up to analyze art and other specialized fields of cultural production, this is the message conveyed by recent studies authored by anthropologists dealing with this universe, as well as those written by historians and sociologists who pay attention to the connections between culture, power and symbolism. Auerbach, Becker, Baxandall, Bourdieu, Geertz, Gell, Goody, Elias, Miceli, Schorske, Williams and Beatriz Sarlo: an impressive roster of authors who have been dealing, through creative insights, with the challenges concerning the autonomy and dependence of symbolic systems. Those specialists did not hesitate about the importance of including intellectual life, cultural production, art worlds and their practitioners, as legitimate anthropological objects. Other scholars have emphasized the links between language, social processes and ethnography, as well as those social and symbolic arrangements translated within the oral and written sources, the main subject of this article
Alex Potts - One of the best experts on this subject based on the ideXlab platform.
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michael Baxandall 1933 2008
The Burlington Magazine, 2009Co-Authors: Alex PottsAbstract:Scholar Michael Baxandall died on August 12, 2008, at the age of 74. Baxandall is best known for his radically new approach to the analysis of the social and cultural significance of works of visual art, seeking out interconnections between specialized ways of looking and visual discriminations at work in artistic culture and more widely shared habits of viewing and visual expertises. Among the greatest minds to have worked in the field of the history of art over the past century, he deserves to be ranked alongside classic masters of the discipline. The writer traces Baxandall's career in detail.
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michael Baxandall and the shadows in plato s cave
Art History, 1998Co-Authors: Alex PottsAbstract:Shadows usually lie on the periphery of our visual awareness and yet they constitute visual appearances. Starting from Michael Baxandall’s discussion of this paradox in his recent work on painting and visual cognition in the Enlightenment, this article explores the kinds of shadowing that occur in eighteenth-century art and also the ambiguous status of shadow effects in contemporary art. It argues that Baxandall’s concerns have significant affinities with those of one of the more important Minimalist artists, Donald Judd. The way Baxandall in his study of shadows seems to abandon the social and cultural historical ambitions of his earlier analysis of Renaissance art, and to adopt a more phenomenological approach, focusing on a viewer's immediate visual engagement with a work, is seen here as symptomatic of a larger shift in the discipline – namely the demise of the systematically historicising imperatives previously more or less taken for granted in serious art historical scholarship.
