Universidade de Lisboa Repositório da Universidade de Lisboa

Repositório da Universidade de Lisboa >
Faculdade de Belas Artes (FBA) >
FBA - Dissertações de Mestrado >

Please use this identifier to cite or link to this item: http://hdl.handle.net/10451/2530

Título: Do objecto impessoal ao objecto auto-referencial
Autor: Mateus, Joana Adelaide Souto, 1985-
Orientador: Botelho, Manuel, 1950-
Palavras-chave: Pintura
Issue Date: 2011
Resumo: This dissertation deals with the object (of daily use) as a means for the artist to self-reference in their artistic practice. In an investigation that refers to the genre of still life, addresses the self-referential object, being necessary to speak of three aspects that contextualize the field of art: the object considered impersonal (worked for numerous artists of the twentieth century); the re-signification of the object; and finally the personal object and the construction of identity (personal and collective). Within these themes, we tried to select artists whose work refers to the use of the object as a vehicle to achieve certain objectives, in terms of self-reference or as a way of overcoming the limits of painting itself. The dissertation is divided in two chapters: the first approach to the three aspects mentioned above, and the second focuses on the author's personal art project. In relation to the object, addresses the impersonal object, (first) referring to, the readymades of Marcel Duchamp, whose distance from the author's reference to the work face. However, some artists began to use such impersonal objects as well as personal objects. In addition to this self-reference through the personal object, other artists use it to build not only an autobiographical dimension as well as collective identities (which are a particular social group). In the second chapter, the author's personal art project is articulated with the concept of self-referential object in a search and affirmation of personal identity. It develops a path for painting; for three-dimensional works in which the object itself is present; while at others where, through the photographic image, to create scenarios; and finally, through video, as static objects come to life. As background material, complete with an attachment section which takes a brief look at the historical context of the still life.
Descrição: Tese de mestrado, Pintura, Universidade de Lisboa, Faculdade de Belas Artes, 2011
Os anexos, são videos que, por questões de direitos apenas serão visualizados no espaço da Biblioteca da FBAUL
URI: http://hdl.handle.net/10451/2530
Appears in Collections:FBA - Dissertações de Mestrado

Files in This Item:

File Description SizeFormat
ULFBA_TES366.pdf2,82 MBAdobe PDFView/Open

Please give feedback about this item
FacebookTwitterDeliciousLinkedInDiggGoogle BookmarksMySpace
Formato BibTex MendeleyEndnote Logotipo do DeGóis 

Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.


  © Universidade de Lisboa / SIBUL
Alameda da Universidade | Cidade Universitária | 1649-004 Lisboa | Portugal
Tel. +351 217967624 | Fax +351 217933624 | repositorio@reitoria.ul.pt - Feedback - Statistics
Promotores do RCAAP   Financiadores do RCAAP

Fundação para a Ciência e a Tecnologia Universidade do Minho   Governo Português Ministério da Educação e Ciência PO Sociedade do Conhecimento (POSC) Portal oficial da União Europeia