| Name: | Description: | Size: | Format: | |
|---|---|---|---|---|
| 4.9 MB | Adobe PDF |
Authors
Advisor(s)
Abstract(s)
O objetivo central desta minha pesquisa Ă© conseguirmos compreender a importĂąncia
da prĂĄtica artĂstica para a construção de identidade do prĂłprio artista. Ainda, refletir de um
modo interdisciplinar (teĂłrico e artĂstico) sobre a relação do eu e do outro, em que o papel
do espelho possa interferir na perceção desse mesmo eu e na construção da fotografia e
sobre a multiplicidade de representaçÔes contidas nesse processo de autorretrato.
No perĂodo do Renascimento, o retrato ganha uma enorme importĂąncia nas camadas
sociais de maior destaque polĂtico e social. Com o surgimento do espelho, objeto
imprescindĂvel na pintura do autorretrato, este consequentemente começa a progredir.
Partimos assim, de uma breve introdução histórica do conceito e da produção do retrato e do
autorretrato, onde se vieram a estruturar globalmente, aspetos importantes desta
prĂĄtica artĂstica. Posteriormente, ao realizarmos uma anĂĄlise de casos, nĂŁo podemos de
modo algum esquecer aqueles que impulsionaram a histĂłria da fotografia, particularmente
do autorretrato, que dedicaram parte da sua vida a produzir vårias obras deste género, tanto
Andy Warhol, Nan Goldin como também Cindy Sherman. Todos estes tentaram dessa forma
compreender as suas individualidades, experiĂȘncias e vivĂȘncias, intercetando algumas
particularidades do autorretrato. Ainda, Ă© objeto de estudo e anĂĄlise particular, na qual sĂŁo
observadas a relação âeu e o outroâ e o elemento espelho na sua obra, na obra da fotĂłgrafa
Vivian Maier.
Em seguida, faz-se referĂȘncia e cruzam-se os valores polissĂ©micos e estĂ©ticos do
espelho, onde foram selecionados artistas que o tivessem destacado nas suas obras
(fotografia, pintura e literatura) como elemento principal, nomeadamente René Magritte,
Lewis Caroll e Jorge Molder.
The main goal of this research is to understand the significance of the artistic practice to the construction of the artistâs own identity. And yet, to be able to reflect in an interdisciplinary way (theoretical and artistic) about the relationship between the self and the other, in which the role of the mirror might interfere in the perception of the self and in the construction of photography, and about the multiplicity of representations found in that process of the self-portrait. In the Renaissance era, the portrait gained higher importance in the social layers of greater political and social status. Hence, with the appearance of the mirror, a vital object in the painting of the self-portrait, the self-portrait grew. As such, we start with a succinct historical presentation of the notion and the production of the portrait and the self-portrait, in which came the global structuring of key issues of this artistic practice. Afterwards, by performing a case analysis, we canât forget the great figures that helped develop the history of photography, mostly the self-portrait, who dedicated part of their lives to producing several pieces of this genre, such as Andy Warhol, Nan Goldin as well as Cindy Sherman. All of these tried to fully understand their individualities, experiences and lives by intersecting some features of the self-portrait. Another work that is also a subject of study and particular analysis, in which itâs studied the relationship between "the self and the other" and the mirror in her work, is the work of the artist Vivian Maier. Furthermore, this report refers to and cross-references the polysemic and aesthetic values of the mirror, where artists who had stressed it in their works (photography, painting and literature) and gave it focus as a major element were selected, such as RenĂ© Magritte, Lewis Caroll and Jorge Molder.
The main goal of this research is to understand the significance of the artistic practice to the construction of the artistâs own identity. And yet, to be able to reflect in an interdisciplinary way (theoretical and artistic) about the relationship between the self and the other, in which the role of the mirror might interfere in the perception of the self and in the construction of photography, and about the multiplicity of representations found in that process of the self-portrait. In the Renaissance era, the portrait gained higher importance in the social layers of greater political and social status. Hence, with the appearance of the mirror, a vital object in the painting of the self-portrait, the self-portrait grew. As such, we start with a succinct historical presentation of the notion and the production of the portrait and the self-portrait, in which came the global structuring of key issues of this artistic practice. Afterwards, by performing a case analysis, we canât forget the great figures that helped develop the history of photography, mostly the self-portrait, who dedicated part of their lives to producing several pieces of this genre, such as Andy Warhol, Nan Goldin as well as Cindy Sherman. All of these tried to fully understand their individualities, experiences and lives by intersecting some features of the self-portrait. Another work that is also a subject of study and particular analysis, in which itâs studied the relationship between "the self and the other" and the mirror in her work, is the work of the artist Vivian Maier. Furthermore, this report refers to and cross-references the polysemic and aesthetic values of the mirror, where artists who had stressed it in their works (photography, painting and literature) and gave it focus as a major element were selected, such as RenĂ© Magritte, Lewis Caroll and Jorge Molder.
Description
Trabalho de projeto
Keywords
Vivian Maier Autorretrato Espelho Eu e o outro Reflexo Self-portrait Mirror âMeâ and the âotherâ Reflection