Segundo o mestre Argan \u201ca arte moderna nasce da cultura art\u00edstica do Iluminismo\u201d, cujos temas fundamentais eram a recusa da ret\u00f3rica barroca figurativa, a busca de uma l\u00f3gica de representa\u00e7\u00e3o formal e a autonomia do artista. Deste legado nasce a consci\u00eancia moderna do aprendizado do ateli\u00ea e da refer\u00eancia. O que o pensamento contempor\u00e2neo vai chamar de \u201cP\u00f3s-modernidade\u201d.<\/p>\n
Tr\u00eas tempos de pintura<\/em> se insere neste contexto da refer\u00eancia como busca da autonomia. Bel Barcellos, Lu\u00edz Ferraz e Miguel Pach\u00e1 estabelecem esta autonomia como s\u00edntese de seus trabalhos. Apesar de mostrarem uma pintura diferente em todos seus aspectos formais, os tr\u00eas apresentam, na Sala Bernadelli do Museu Nacional de Belas Artes, esta gesta\u00e7\u00e3o temporal de uma pintura concebida dentro dos c\u00e2nones modernos.<\/p>\nBel Barcellos vai buscar em Klimt uma figura\u00e7\u00e3o que aparece e desaparece de acordo com sua necessidade crom\u00e1tica espec\u00edfica. Mais precisamente em a \u201cAs tr\u00eas idades da mulher\u201d que lhe serve de par\u00e2metro para trabalhar o plano da tela. Ela divide esta figura em partes, fazendo uma incis\u00e3o nela, repartindo-a pelos v\u00e1rios cantos da tela, encobrindo-as de cores luminosas, na primeira fase, e aguadas e past\u00e9is, na segunda. Bel busca a ess\u00eancia e autonomia desta figura que nasceu num tempo moderno e se estabeleceu como signo desta arte.<\/p>\n
Lu\u00edz Ferraz vai buscar nas paisagens a representa\u00e7\u00e3o da funcionalidade da arte, por conseguinte, do desenvolvimento do g\u00eanero mais adequado a esta racionalidade: a paisagem natural do seu pa\u00eds. Como brasileiro, vivendo no ex\u00edlio, Ferraz busca na natureza brasileira esta autonomia social e psicol\u00f3gica. Sua liga\u00e7\u00e3o com Maria Polo e Mohaly n\u00e3o se d\u00e1 por acaso: s\u00e3o la\u00e7os formais de um pensamento pl\u00e1stico calcado na natureza (entenda-se representa\u00e7\u00e3o desta natureza n\u00e3o mais como janela) que ficou presa \u00e0 sua mem\u00f3ria. O tempo como senhor desta natureza grudada nas mais preciosas camadas de tinta.<\/p>\n
Miguel Pach\u00e1 continua na sua cruzada mat\u00e9ria e representa\u00e7\u00e3o, em busca de um tempo perdido nas paisagens lunares, org\u00e2nicas, feitas de luzes que impulsionam a mat\u00e9ria . \u201cFa\u00e7a-se a luz e foi feita a luz\u201d. Pach\u00e1 vai a Turner e a Constable, paisagistas ingleses modernos na sua concep\u00e7\u00e3o de natureza, para criar sua autonomia. Mas as paisagens do pintor cont\u00eam uma expressividade dram\u00e1tica digna de Rembrandt com suas tempestades. Se nos ingleses essa natureza \u00e9 concebida como ambiente de vida e n\u00e3o reflexo do criador na imagem do criado, em Pach\u00e1 essa natureza \u00e9 a passagem do tempo de aprendizado e sua constru\u00e7\u00e3o cultural.<\/p>\n
S\u00e3o tr\u00eas tempos de pintura localizada na esfera do tempo moderno. Tempo senhor de todos os tempos e por isso irrefre\u00e1vel na sua raz\u00e3o de existir.<\/p>\n<\/div>
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The three timings of painting <\/strong><\/em>
\nPaulo Reis<\/strong><\/em>
\n1995<\/strong><\/em><\/p>\n<\/div>According to art critic Argan \u201cmodern art is born from the artistic culture of the Enlightenment\u201d, whose main themes were the refusal of baroque figurative rhetoric, the pursuit of a logic of formal representation and the artist\u2019s autonomy. From this inheritance is born the modern mindset of learning through the atelier and from reference. This is what contemporary thought calls \u201cPost-modernity\u201d.<\/em><\/p>\n\u201cThe three timings of painting\u201d is embedded in this context of viewing reference as a search for autonomy. Bel Barcellos, Lu\u00edz Ferraz and Miguel Pach\u00e1 establish this autonomy as a synthesis of their works. Despite displaying styles of painting that are different in all their formal aspects, the three painters present, at the Bernadelli Room, in the National Museum of Fine Arts, this temporal gestation of a painting conceived within the modern canon.<\/em><\/p>\nBel Barcellos searches Klimt for a figuration that appears and disappears according to her specific chromatic needs. More precisely in \u201cThe three ages of women\u201d, which functions as her parameter to tackle the plane of the canvas. She divides this figure in parts, making an incision, slicing it through the fabric, covering it with luminous colors on a first stage, and with watery-pastel in the second. Bel looks for the essence and autonomy of this figure that was born in a modern time and established itself as a symbol of this art.<\/em><\/p>\nLu\u00edz Ferraz searches landscapes for the representation of the functionality of art, and, by consequence, reaches the genre that is most adequate to this line of thinking: the natural landscape of his country. As a Brazilian, living in exile, Ferraz searches Brazilian nature for this social and psychological autonomy. His connection with Maria Polo and Mohaly isn\u2019t by accident: it is made by the formal ties of an aesthetic thinking based on a nature (one should understand this as the representation of this nature no longer as a window) that was stuck in his memory. Time as the master of this nature glued to the most precious layers of paint.<\/em><\/p>\nMiguel Pach\u00e1 continues his crusade of working with matter and representation, in search of the lost time of lunar, organic landscapes, made by the light that drives matter. \u201cLet there be light and thus there was light\u201d. Pach\u00e1 resorts to Turner and Constable, English landscape artists with a modern conception of nature, in order to find his autonomy. But the landscapes of the artist bear a dramatic expressivity closer to Rembrandt and his tempests. While for the English artists this nature is conceived as an environment of life rather than the reflection of the creator into what\u2019s created, in Pach\u00e1, this nature is the passage of the time of learning and its cultural creation.<\/em><\/p>\nThose are the three timings of painting located within the sphere of modern time. Time as a lord of all times and thus unstoppable in its reason to exist.<\/em><\/p>\n<\/div><\/div>\n\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"
Sob nossos p\u00e9s | Beneath our feet<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[],"class_list":["post-352","post","type-post","status-publish","format-standard","hentry","category-texts"],"_links":{"self":[{"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/posts\/352","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/comments?post=352"}],"version-history":[{"count":7,"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/posts\/352\/revisions"}],"predecessor-version":[{"id":1120,"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/posts\/352\/revisions\/1120"}],"wp:attachment":[{"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/media?parent=352"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/categories?post=352"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/tags?post=352"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}