http://hdl.handle.net/11422/99 2026-05-05T15:50:33Z 2026-05-05T15:50:33Z Roza, Beatriz Ellen dos Santos http://hdl.handle.net/11422/29118 2026-05-01T03:00:15Z 2025-01-01T00:00:00Z

Title: Artistas negros do século XIX e os gêneros de pintura: paisagem, natureza morta e retrato Author(s)/Inventor(s): Roza, Beatriz Ellen dos Santos Advisor: Cavalcanti, Ana Maria Tavares Abstract: This dissertation investigates the presence and recurrence of the so-called lesser genres in the work of three Black artists trained at the Imperial Academy of Fine Arts during the second half of the 19th century: Antonio Firmino Monteiro (1855–1888), Estevão Roberto Silva (1845–1891), and Antonio Rafael Pinto Bandeira (1863–1896). The research analyzes how these artists operated within the possibilities offered by the academic and artistic structures of the time, and how their chosen genres and artworks reflect formal and thematic decisions shaped by the limits imposed on their circulation within the art world. In Monteiro’s case, the focus is on his engagement with history painting as a means of social ascension—an effort that, although significant, was largely overlooked and rendered invisible by art historiography. For Silva, the emphasis on still life is examined both as a field of aesthetic specialization and as a space for commercial and economic opportunities. In Bandeira’s work, portraiture is approached as a means of constructing subjectivity and racial identity, with particular attention to how his genre and portrait paintings contrast with the predominant representations of Black subjects produced by white artists of the same period. By bringing together these three distinct trajectories, the dissertation seeks to contribute to a broader reflection on the dynamics of training, strategy, recognition, and permanence of these artists in the history of Brazilian art. Publisher: Universidade Federal do Rio de Janeiro Type: Dissertação

2025-01-01T00:00:00Z Teixeira, Amanda Botelho http://hdl.handle.net/11422/29103 2026-04-25T03:00:12Z 2026-03-02T00:00:00Z

Title: A poética visual de Matsutani e as transferências no entre-espaço Author(s)/Inventor(s): Teixeira, Amanda Botelho Advisor: Freitas, Rosana Pereira de Abstract: The dissertation analyzes how the multiple displacements experienced by the contemporary Japanese artist Takesada Matsutani are inscribed in the conception process and in the materiality of his abstract visual works. In order to do so, it outlines the artist’s social and artistic trajectory, his movement through national and international artistic environments, as well as the material, technical, and thematic decisions adopted over time. Accordingly, it seeks to strengthen the field of Japanese Studies in Brazil and to contribute plural narratives to Brazilian Art History and Criticism, while also fostering the discussion on immigrant artists in Paris after the Second World War. Publisher: Universidade Federal do Rio de Janeiro Type: Dissertação

2026-03-02T00:00:00Z Almeida , Ana de http://hdl.handle.net/11422/28925 2026-03-21T03:00:12Z 2025-12-17T00:00:00Z

Title: Duas árvores inimigas: o discurso institucional e a legitimação da arte virgem Author(s)/Inventor(s): Almeida , Ana de Advisor: Martins, Tatiana Abstract: This dissertation investigates the artistic production of artists diagnosed with psychiatric disorders associated with Psychiatric Center of Pedro II Hospital, proposing a critical reflection on the modes of subjectivation and aesthetic expression within contexts of psychic suffering. It is based on the hypothesis that such creations demand an art criticism that transcends formalism, embracing experience, affectivity, and the ethical dimension of perception. Situated at the intersection of art, critique, and clinic, this research conceives creation as an act of existence and resistance. The analysis articulates Ricardo Basbaum’s concept of artes/vidas and Roland Barthes’s biographeme as methodological tools for understanding the inseparability between life and art. The biographeme, viewed as a vital fragment that escapes biographical linearity, reveals traces of subjectivity inscribed in artistic forms, while the notion of artes/vidas expands art into the lived sphere, where the creative act becomes a way of life. Mário Pedrosa’s aesthetic theory—particularly his ideas of “aesthetic experience” and “the affective nature of form”—serves as the main theoretical framework, providing an ethical and sensitive basis for interpretation. The methodological approach combines historical research and aesthetic analysis with a hermeneutic and essayistic perspective, emphasizing the singularity of each creative process and its institutional context. Ultimately, this study proposes an expansion of art criticism into an implicated critique, one that recognizes the vitality of marginalized subjectivities and conceives art as a space of existential sharing. The art of the so-called “mad” thus emerges as a form of sensitive thought, freedom, and self-invention. Publisher: Universidade Federal do Rio de Janeiro Type: Tese

2025-12-17T00:00:00Z Campos, Marcelo http://hdl.handle.net/11422/14169 2023-12-21T03:07:40Z 2005-01-01T00:00:00Z

Title: Brasilidades contemporâneas: hibridismos culturais na arte brasileira (1965-2005) Author(s)/Inventor(s): Campos, Marcelo Advisor: Vianna, Helio Abstract: The objective of this thesis is to place the idea of a Brazilian identity through the reappropriations of the contemporary art made in the country according to the concepts of popular, erudite and mass media. To accomplish this, it is necessary to select and analyze works in the Brazilian artistic production which make use of material culture objects, bearing the three concepts in mind, and to later organize them according to thematic axes such as: the urban space and its contradictions, the deviation from the pattern in the trajectories of anti-heroes; authoritarianism and submission; folk religiosity; intermediation of memory. The central hypothsis of the investigation consists of attributing a notable presence to the idea of a Brazilian identity in the current art of the nation, although it may be quite surprising when applied to some artists. The idea of attributing a Brazilian face to its contemporary production springs from the points which have been recurrent in various epochs of the Brazilian art history and which end up to associate, thus creating a Brazilian identity. This information would arise from processes which could be called cultural hybridisms. It is worth emphasizing that the formation of visual images and the choices of specific references to making of art are linked to a certain cultural system. Although the artists have denied to assume a programmatic vision such as the one derived from the Semana de Arte Moderna ("Week of Modern Art"), an event held in São Paulo in 1922, and from studies of folklore, the presence of motifs of the national life is self-evident in contemporary works. Publisher: Universidade Federal do Rio de Janeiro Type: Tese

2005-01-01T00:00:00Z