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Among vanguards: the other side of the same modernist generation

Grant number: 14/15708-1
Support Opportunities:Scholarships in Brazil - Doctorate
Effective date (Start): November 01, 2014
Effective date (End): October 31, 2018
Field of knowledge:Humanities - Sociology
Acordo de Cooperação: Coordination of Improvement of Higher Education Personnel (CAPES)
Principal Investigator:Guilherme Simões Gomes Júnior
Grantee:Ana Maria Barbosa de Faria Marcondes
Host Institution: Faculdade de Ciências Sociais. Pontifícia Universidade Católica de São Paulo (PUC-SP). São Paulo , SP, Brazil

Abstract

The study has as its object of analysis the 1st General Exhibition of Fine Arts in the astonish year of 1922. Inquire their continuity as the Artistic Paulista family stepped in the second half of the 1930s in exhibitions that were the subject of controversy, but that resulted in the admission of this group of emerging artists in the modernist group, recognizing them as a continuum or a new phase. Firstly, this is to show that 1922 was a multiple year within the fine arts, and their most significant event - the famous week of February 1922 - obscured for posterity the 1st General Exhibition of Fine Arts, which occurred in September. Almost nothing has been said about this exhibition, plus it would have been a "meaningless shows of poor painters", unimportant and abandoned in the past as an event. The major hypothesis of the research is that the aesthetics of Artistic Family was already in draft in 1922 and gained consistency when Paulo Claudio Rossi Osir, inspired by Artistic Family of Milan. It gave the group a new lease, and was sustained by the hosts Mário de Andrade, Sergio Milliet and Paulo Mendes de Almeida. This hypothesis assumes that, between 1922 and 1937 (year of first exposure Artistic Family), there was a stream of artists and an artistic routine in São Paulo, which remained relatively hidden in the historiography of modernism. The artistic visuality of the 1st General Exhibition and the exhibitions of Artistic Family suggests the investigation of trajectories and group dynamics of artists, whose production took place in parallel to the modernist avant-gardes. As a group, both because of the origin of many of them or by reason of technical and aesthetic characteristics, these artists can be considered a province of Italian art acclimatized in São Paulo between 1920 and 1930. (AU)

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