被分割成正方形的家园:joaquim de vasconcelos(1849-1936)身份面板

ARTis ON Pub Date : 2018-12-30 DOI:10.37935/AION.V0I8.215
Sandra Leandro
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引用次数: 0

摘要

Joaquim de Vasconcelos以严谨的方法被认为是葡萄牙艺术史的奠基人,同时也是音乐学家、博物馆学家、教师和教授、艺术评论家,以及摄影和绘画等视觉传播“系统”的“冠军”。他的批判性分析能力,他对各个知识领域的无政府主义热情,在几乎所有事情都尚未完成的情况下提供思考和行动的方式,使他成为一个反神话和独特的人物,创造了自己的传奇,一个神话和一个浪漫的英雄,一个远远超过戈特弗里德·森帕尔(1803-1879)或詹巴蒂斯塔·卡瓦尔塞勒(1819-1897)的自己的主人,这只是他所钦佩的两位大师。国土广场不仅是葡萄牙身份之谜中瓷砖的重要组成部分,也是Joaquim de Vasconcelos在试图识别葡萄牙艺术时所画的平行几何和子午线的一种暗示方式。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
A HOMELAND DIVIDED IN SQUARES: JOAQUIM DE VASCONCELOS (1849-1936) IDENTITY PANELS
Considered the founder of Art History in Portugal with a rigorous method, Joaquim de Vasconcelos was also a Musicologist, Museologist, Teacher and Professor, Art Critic and a “champion” of visual transmission “systems” like Photography and Drawing. His capacity for critical analysis, his anarchic enthusiasm for various areas of knowledge, providing ways of thinking and acting when almost everything was still undone, impose him as an anti-mythical and unique character who created his own legend, a myth and a romantic hero, a master of himself far beyond from Gottfried Semper (1803-1879) or Giambattista Cavalcaselle (1819-1897) just to point out two of the masters that he admired. Homeland squares are not only a way of referring how tiles are a very important part of the Portuguese identity puzzle, but also a way of alluding to the geometry of parallels and meridians that Joaquim de Vasconcelos drew when trying to identify the Art in Portugal.
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