A arte como forma de expressão social e religiosidade: análise antropológica da obra "Criança Morta"

Otávio Barduzzi Rodrigues da Costa
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Abstract

It is precisely at the moment of urbanization in Brazil, when people leave the countryside to the city in a frantic rhythm towards the assembly lines of the factories, there arises modernism, that is, the expressionist revolutionary movement, which was considered the moment of the transformation of art. It is through art, with critical expressions and denunciations of social injustices, that Candido Portinari, in 1944, presented to the world the artwork Crianca Morta, with the purpose of denouncing the miseries of miserableness, which provoked repercussion in the society at the time. When asked, Portinari replied that looking at the world, was only what he saw: misery and desolation.
艺术作为一种社会表现形式与宗教信仰:《死去的孩子》的人类学分析
正是在巴西城市化的时刻,当人们以疯狂的节奏离开农村走向城市,走向工厂的装配线时,出现了现代主义,即表现主义革命运动,这被认为是艺术转型的时刻。1944年,坎迪多·波尔蒂纳里(Candido Portinari)通过批判的表达和对社会不公的谴责,向世界展示了艺术作品《克里安卡·莫塔》(Crianca Morta),其目的是谴责悲惨的痛苦,在当时的社会引起了反响。当被问及这个问题时,波尔蒂纳利回答说,看着这个世界,他只看到了他所看到的:痛苦和荒凉。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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