Utilize este identificador para referenciar este registo: http://hdl.handle.net/10451/18417
Título: Da cópia ao original : as tensões da pintura
Autor: Rebelo, José Eduardo da Silva, 1966-
Orientador: Vidal, Carlos, 1964-
Palavras-chave: Pintura
Apropriação
Originalidade
Cópias
Reprodução
Impressão gráfica
Reprodutibilidade
Data de Defesa: 13-Abr-2015
Resumo: The concepts original, copy and multiple, which contextualize most of the current artistic production, are analyzed within appropriation practices which highlight the notions of reproduction, version and quotation. These concepts are critically examined in the light of transformations which result from the massive propagation of reproduced image, in the frame of the proliferation resulting from technological changes of industrial society and from a historical and socio-political perspective. Image reproduction processes are addressed, as well as several technical possibilities of its multiplication, which have suffered decisive thematic and formal changes through their absorption and introduction in the artistic field. Both the appropriation of images and the techniques and concepts related with confiscation reflect the importance that the notion of authorship started having in the productions of various artists. The production of artwork can include mechanical printing techniques or become the result of manual reproduction processes. By reflecting different levels of control during their production, artworks can display weathering, flaws, discontinuity or even obliteration in parts of the image. Even though the method of copying preexisting images is a recurring recreation process, it is also practiced in an obsessive way and it seems to become contradictory in the visual arts sphere. An interrelation of strategies, which takes a new role of photography and appropriation into account, has allowed the articulation of several art forms resulting in new art production which has been produced based on multiple support materials and technology. New strategies tackling aspects of the medium, result in works which reveal an interdisciplinary hybridism
URI: http://hdl.handle.net/10451/18417
Designação: Tese de mestrado, Pintura, Universidade de Lisboa, Faculdade de Belas Artes, 2015
Aparece nas colecções:FBA - Dissertações de Mestrado

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ULFBA_TES_824_CAPA.jpg787,48 kBJPEGVer/Abrir
ULFBA_TES_824.pdf5,56 MBAdobe PDFVer/Abrir


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