domingo, 25 de junho de 2017

RESUMO PUBLICADO | PUBLISHED ABSTRACT : A permanência de formas e motivos medievais em têxteis barrocos


RESUMO: Ao serem realizados estudos de filiação estética das formas e motivos contidos em têxteis litúrgicos da Coleção Histórico-Artística da Venerável Ordem Terceira de São Francisco da Penitência da Cidade de São Paulo, fundada em 1644, inicialmente identificados como do período Barroco, nos deparamos com um resultado inusitado. Parte destes, na verdade, eram motivos medievais catalogados em Contributi allo studio dell'arte tessile, escrita por Giorgi Sangiorgi (1886-1960), colecionador italiano, cuja parte de sua coleção está depositada no The Metropolitan Museum of New York. Esta obra, disponibilizada online, faz parte deste contexto de digitalização de acervos bibliográficos e artísticos, disponibilizados em bancos de dados que propicia maior acesso a pesquisadores de diversas disciplinas. Desta forma, pensamos que tanto a História da Arte quanto as Humanidades Digitais são duas áreas do saber que se entrelaçam, fomentando novas interpretações e questionamentos sobre a presença de objetos medievais, o que pode reconfigurar os estudos de modo interdisciplinar. Neste sentido, pudemos identificar a permanência de determinadas formas e motivos ao verificarmos, preenchendo uma lacuna no que tange a descrição iconográfica. Portanto, pensamos em discutir a importância dos estudos medievais, seu imaginário e suas imagens como fontes de estudos iconográficos em um arco temporal ampliado, a partir de nossas constatações iniciais, com base metodológica para o estudo da imagem e seus usos por Bock (1859), Burckhardt (2011), Focillon (1983), E.H. Gombrich (2012a, 2012b) e Panofsky (1990, 1995), em heráldica por William Berry (1828), na história por Huizinga (2010), Le Goff (2013), entre outros teóricos.


ABSTRACT: When studies of aesthetic affiliation were carried out on the forms and motifs contained in liturgical textiles of the Historical and Artistic Collection of the Venerable Third Order of St. Francis of Penance of the City of São Paulo, founded in 1644, initially identified from the Baroque period, we came across an unusual result. Some of these, in fact, were medieval motifs catalogued in Contributi allo studio dell'arte tessile, written by Giorgi Sangiorgi (1886-1960), Italian collector, whose partial collection is deposited in The Metropolitan Museum of New York. This work, available online, is part of this context of digitization of bibliographical and artistic collections, available in databases that provide greater access to researchers from different disciplines. Bearing this in mind, we think that both the History of Art and Digital Humanities are two areas of knowledge that are intertwined, fostering new interpretations and questions about the presence of medieval objects, which can reconfigure studies in an interdisciplinary way. In this sense, we were able to identify the permanence of certain forms and motifs, filling a gap concerning the iconographic description. Therefore, we will be discussing the importance of medieval studies, the imagery and images as sources of iconographic studies in an extended temporal arc, starting from our initial findings, with a methodological basis for the study of the image and its uses by Bock (1859), Burckhardt (2011), Focillon (1983), EH Gombrich (2012a, 2012b) and Panofsky (1990, 1995), in heraldry by William Berry (1828), in History by Huizinga (2010), Le Goff (2013), among other theorists.

Citation
​CONCEIÇÃO, R.A. (2017). A permanência de formas e motivos medievais em têxteis barrocos. In: Programme Book of Abstracts of International Conference Reading the Middle Ages Today: Sources, Text and Translation. p. 9-10. 

segunda-feira, 13 de fevereiro de 2017

Article: QUEMADMODUM DESIDERAT CERVUS,the Psalm 42 (41): artistic interpretations and imagery

Abstract: This article presents the analysis of the artistic interpretations and the imaginary representations of Psalm 41 (42), present in the motif of the chained deer that was represented in the ecclesiastical textiles of the Cathedral of Brandenburg, dating from the third quarter of the 14th century, with reproductions executed in the second half of the 19th century and the beginning of the 20th century, with some copies in the Historical and Artistic Collection of the Venerable Third Order of Saint Francis of Penance of the City of São Paulo (VOTSFPCSP) and the Collection of the São Bento Monastery in São Paulo. In addition to textiles, we have the analysis of the Wilton diptych (c.1395-9), belonging to the National Gallery of London, as well as the relief on the altar of the Chapel of the Blessed Sacrament of the Abbey Basilica of Our Lady of the Assumption. Our analysis has as a theoretical basis 'The Commentaries on the Psalms' of Saint Augustine (1997), the work of Albert Rouet (1994) that deals with the relation between art and liturgy, methodology for the study of the image and its uses by Bock (1859 ), EH Gombrich (2012a, 2012b) and Panofsky (1990, 1995), with the support of the study in heraldry by William Berry (1828).

Keywords: Artistic interpretation, Visual representation, Imagery, Religious image, Sacred art, Art and Liturgy.

CONCEIÇÃO, R. A. . (2016) QUEMADMODUM DESIDERAT CERVUS,the Psalm 42 (41): artistic interpretations and imagery. ANASTASIS. Research in Medieval Culture and Art. Anastasis. Vol. III, Nr. 2/ November 2016. p.. ISSN 2392–862X (print); ISSN-L 2392–862X; ISSN 2392–9472 (online). 

Artigo: HONORIFICENTIA POPVLI NOSTRI: arte e decoração beuronense no século XXI

HONORIFICENTIA POPVLI NOSTRI: arte e decoração beuronense no século XXI
RESUMO: A arte beuronense surge na Abadia de Beuron, Alemanha, com a fundação da Escola de Arte de Beuron, cujos principais fundamentos foram postulados por Padre Desiderius Lenz (1832–1928) e Gabriel Wüger (1829–1892). Discutiremos o lugar da arte e decoração beuronense no século XXI a partir da análise de dois casos: o projeto do artista Enzo Selvaggi para o restauro e a renovação da Igreja de São João Crisóstomo, na Califórnia, e a construção e decoração da Igreja do Príncipe da Paz, em Nebraska, em 2011, feita pela EverGreene Architectural Arts em parceria com RDG Design Planning.
Palavras-chave: Arte beuronense, século XXI, conservação e restauro, apropriação estética.

HONORIFICENTIA POPVLI NOSTRI: Beuronese art and decoration in the XXI Century
Abstract: Beuronese art appears in Beuron Abbey, Germany, with the founding of the Beuron School of  Art, whose main foundations were postulated by Father Desiderius Lenz (1832-1928) and Gabriel Wüger (1829-1892). We will discuss the place of art and beuronese decoration in the twenty-first century from the analysis of two cases: the project of the artist Enzo Selvaggi for the restoration and renewal of the Church of St. John Chrysostom, in California, and the construction and decoration of the Prince of Peace Catholic Church in Nebraska in 2011, made by EverGreene Architectural Arts in partnership with RDG Planning Design.
Keywords: Beuronense Art, twenty-first century, conservation and restoration, aesthetic appropriation.

CONCEIÇÃO, R. A. . (2016). HONORIFICENTIA POPVLI NOSTRI: arte e decoração beuronense no século XXI. In: CIRILLO, José; GRANDO, Ângela, (Orgs.). Poéticas da criação, ES 2016: Anais do Seminário Ibero-Americano sobre o Processo de Criação nas Artes. Vitória: PROEX; UFES. ISBN: 978-85-65276-30-6.