Full text
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| Author(s): |
Gabriela Borges Abraços
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: | 2012-08-31 |
| Examining board members: |
Lisbeth Ruth Rebollo Goncalves;
Daisy Valle Machado Peccinini;
Percival Tirapeli
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| Advisor: | Lisbeth Ruth Rebollo Goncalves |
| Abstract | |
The thesis aims at reflecting on the critical production and contribution of Mário Pedrosa to Brazilian art, as well as identifying some artistic paradigms, which contributed to the consolidation of a theoretical framework for the History of Modern Art, both at the national and international levels. The purpose here is to outline the relationship between what Pedrosa absorbed about Gestalt-based theories and examples of how he applied them in constructing his critical discourse. By focusing the analysis on the Brazilian critics engagement in the subject of the psychology of forms we propose to emphasize the aesthetic implications of his groundbreaking study Da natureza Afetiva da Forma na Obra de Arte (On the affective nature of forms in the work of art). We also intend to identify the intersection between the psychology of forms and Mario Pedrosas art criticism, pointing the influence of these theories on texts about American artist Alexander Calder, considered by the critic the symbol of constructive abstract aesthetics. We sought to verify how psychology theses on forms offered the critic conceptual material for a new relationship with the constitutive and cognitive premises of abstract aesthetics. (AU) | |
| FAPESP's process: | 08/07679-0 - Mário Pedrosa and his criticism practice in the decade of 1960. |
| Grantee: | Gabriela Borges Abraços |
| Support Opportunities: | Scholarships in Brazil - Master |