| Grant number: | 13/09275-2 |
| Support Opportunities: | Scholarships in Brazil - Master |
| Start date: | August 01, 2013 |
| End date: | February 28, 2015 |
| Field of knowledge: | Humanities - Anthropology |
| Principal Investigator: | Heloísa André Pontes |
| Grantee: | Marcos Pedro Magalhães Rosa |
| Host Institution: | Instituto de Filosofia e Ciências Humanas (IFCH). Universidade Estadual de Campinas (UNICAMP). Campinas , SP, Brazil |
Abstract Alfredo Volpi (1896 - 1999) is considered by several scholars one of the most important Brazilian artists. Many critics have analyzed his works, often appealing to the construction of a narrative towards his biography and personality. This way of analyzing Volpi, even existing until the current days, came from Mário de Andrade (1893 - 1945) e Mário Pedrosa (1900 - 1981). Taking up this public personality as my target of study, I will try to understand the relation between the critics of art and the artist himself in his period of production. There is a dialog between the expectations of the first and the subjectivity of the second. In this chat, quite stressful, it is possible to grasp the social constrictions imposed over an individual in the moment of his work and praise. Precisely, the limitations and opportunities provided by the society of São Paulo in his time for those who aimed to take part in the world of the cultural production.The years 1944 and 1957, in São Paulo, were marked by important exhibitions of this artist, and it was in that period that Volpi was acclaimed one of the most important national painters. In this context, I intend to grasp the meanings and the motives in which the art criticism constituted a particular social mask, a persona, to introduce the artist to the society. (AU) | |
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