| Grant number: | 16/03244-6 |
| Support Opportunities: | Scholarships abroad - Research |
| Start date: | September 01, 2016 |
| End date: | March 01, 2017 |
| Field of knowledge: | Humanities - Sociology - Other specific Sociologies |
| Principal Investigator: | Ana Paula Cavalcanti Simioni |
| Grantee: | Ana Paula Cavalcanti Simioni |
| Host Investigator: | Beatrice Joyeux-Prunel |
| Host Institution: | Instituto de Estudos Brasileiros (IEB). Universidade de São Paulo (USP). São Paulo , SP, Brazil |
| Institution abroad: | École Normale Supérieure, Paris (ENS), France |
Abstract In the history of Brazilian art, the presence of women artists is quite reaffirmed from the modernist movement called. Especially the names of Anita Malfatti and Tarsila do Amaral occupy a privileged place, considered "pioneers", leaving them sometimes the designation of being the modern desbravadoras or the initiator of the vanguards, respectively, expressionist and cubist in the country. Size especially women artists is quite unusual in several foreign modernist historiographical narratives predominant in which, traditionally, are the men who occupy positions of movement leaders, the "fathers" of the new styles, schools heads. This study focuses on the study of mechanisms of consecration Brazilian modernist artists, with special attention to musealization processes of his works. The emblematic presence of such artists in the modernist narratives established by critics and museums contrasts significantly with the postulates internationally defended the historiography of feminist art, since that, since its foundation (way back in 1970) is dedicated to building hypotheses and explanatory models for marginalization that the authors historically faced in the arts. This time, this study seeks to promote a critical dialogue with such analyzes, from the specific configurations of the Brazilian case. | |
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