A representação das Festas de São João pela arte naïf no olhar de Prazeres, Djanira e Silva
Year: 2019
Type: dissertation
Abstract: The research in question is intended to cover the universe of the June festivals, especially the feasts of St. John, as typical feasts present in the June cycle in Brazil, and one of the symbols of cultural identity of our country.From the junin parties brought by the Portuguese immigrants and their re-appropriation by the Brazilian conjuncture, we present our research problem: As Brazilian painters without access to the classic formation of the plastic arts and classified as naïf artists, in the midst of their 'naivete', they printed His main objective is to investigate the representations of the feasts of St. John by the techniques of naïf art in the narrative of three painters: Heitor do Prazeres, Djanira da Mota e Silva and José Antônio da Silva, as artists who portrayed cultural practices of Brazilian society and valued them within the context of plastic arts in Brazil.The specific objectives of the work are: a-to present and discuss some concepts about feast and its relation with Western society, especially with the context of the religiosity of the sacred issues imposed by the Church over the centuries, and the adjustments of day-to-day behavior of parties to religious modes and values; b-to understand how the June festivals, and especially the feasts of St. John, developed in Brazil, identifying their influences and modifications before the Brazilian society, delimiting the elements that constitute such festivities; and c-to conceptualize naïve art, as a classification of the plastic arts, identifying the origin of this term, its characteristics and its presence in Brazil.As a methodological procedure, it is a qualitative research that will use the technique of iconography.The observation in question will be applied to the selected paintings with the thematic feast of Saint John of the painters Heitor of the Pleasures, Djanira da Mota e Silva and José Antônio da Silva.Thus, the results were analyzed through the interpretation of the data collected in the observations of the tables and their correlation with the theoretical reference for the development of the work.These data will be compared with the theoretical categories of analysis established for the research, such as Aesthetics, Culture, Festivals and City.As final considerations we understand that naïve art still today is classified as a minor art, an art produced by people disqualified precisely because they were not fruits of the academy, formal and standardized knowledge.Discovering Heitor dos Prazeres, Djanira da Mota e Silva and Joé Antônio da Silva was not an easy task.First, because of the necessary deconstruction of so many concepts about the ingenuity of art as they paint.They permeated our thoughts and guided our gaze, clouded our vision for a while.But this occurred to the point where we uncovered the window, allowed the light from outside to enter the room and transform it into another place.As concepts and theories of naïve art began to unfold, to unveil different knowledges from those who once were ahead, new perceptions surfaced and the foundation changed, and we could see that this kind of art deserves the same level of importance as those of erudite art.
Author: Livia Cristina Toneto
Institution: Universidade de São Paulo
Language: Portuguese
Subfield: History
Field: Arts and Humanities
Domain: Social Sciences
Open Access status: gold
OpenAlex ID: W2995848991