Full text
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| Author(s): |
Mariana Sacon Frederico
Total Authors: 1
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| Document type: | Master's Dissertation |
| Press: | São Paulo. |
| Institution: | Universidade de São Paulo (USP). Instituto de Estudos Brasileiros (IEB) |
| Defense date: | 2019-08-26 |
| Examining board members: |
Ana Paula Cavalcanti Simioni;
Elaine Cristina Dias;
Maria Cristina Correia Leandro Pereira;
Fernanda Mendonça Pitta
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| Advisor: | Ana Paula Cavalcanti Simioni |
| Abstract | |
The objective of this dissertation is to reflect on some aspects of the trajetory undertaken by the female painter Nicota Bayeux (1871 - 1923) and of her main production, entitled Coeur Meurtri, which belongs to the collection of Pinacoteca de São Paulo. Born in the city of Campinas, at the end of the 19th century, the artist began her studies of painting through private classes in Brazil and, later - in 1903 - enrolled at Académie Julian, an important private institution of artistic studies, in Paris. That was the moment in which she painted the famous work. The artist has lived in a historical context of changes to the women who belonged to the wealthier classes. They had access to new educational and professional opportunities and lived new experiences of sociability. The \"modern woman\" was understood by many of the society as an ambiguous figure - admired when connected to the cosmopolitanism, but feared by those who understood her as threat to tradition. I believe that the understanding of this \"modern woman\" is fundamental to think not only the trajectory of Nicota Bayeux, but also to the construction of Coeur Meurtri, which represents a quite peculiar and ambiguous female figure. Therefore, this work aims to identify which were the possible aesthetical and iconographical references the artist used in order to produce this painting. (AU) | |
| FAPESP's process: | 17/07601-0 - Representing women: gender debates around Nicota Bayeux's Coeur Meurtri |
| Grantee: | Mariana Sacon Frederico |
| Support Opportunities: | Scholarships in Brazil - Master |