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| Author(s): |
Heloisa Espada Rodrigues Lima
Total Authors: 1
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| Document type: | Master's Dissertation |
| Press: | São Paulo. |
| Institution: | Universidade de São Paulo (USP). Escola de Comunicações e Artes (ECA/SBD) |
| Defense date: | 2006-08-25 |
| Examining board members: |
Domingos Tadeu Chiarelli;
Lorenzo Mammi;
Rodrigo Figueira Naves
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| Advisor: | Domingos Tadeu Chiarelli |
| Abstract | |
This dissertation is about Fotoformas, the Geraldo de Barros photographic work made between the end of 1940s and the beginning of the 1950s. The set is diversified because it has pictures linked to the Constructivism, to neo-expressionists poetics arisen in the international art after 1945, or to modern photographic vanguards like the New Vision, among others movements. Through an investigation on the artistic groups and environments frequented by Barros (Group XV, MAM/SP, Municipal Library of São Paulo, Rupture Group, Occupational Therapy Section of the Psychiatric Hospital Pedro II, Bandeirante Photo Cine Club) we can discern how he had known some references identified in his work. Moreover, the research analyses the relation between the Fotoformas and the Mário Pedrosas ideas, art critic considered by the artist like his intellectual mentor. From this survey, the reflection turns about to the specific meaning of these references in the cultural context studied. The concomitancy of different artistic traditions in Fotoformas finds a theoretical explanation in the Pedrosas thoughts: his ideas on the modern art roots, the virgin art concept and the Gestalt Theory. (AU) | |