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Please use this identifier to cite or link to this item: http://hdl.handle.net/10451/3683

Título: Jorge Pinheiro : o referêncial
Outros títulos: o referêncial
Autor: Tavares, Isabel Maria Ventura, 1963-
Orientador: Calado, Margarida, 1947-
Palavras-chave: Pinheiro, Jorge, 1931-
Composição artística
Issue Date: 2011
Resumo: After an extensive and wide-ranging artistic career, which shifted between abstraction and representation, Jorge Pinheiro defined himself as a figurative painter in the past two decades. The study of both work and life of the artist, entitled referential, understands the creative process as a coordinate system of references. This study is focused on the last decade of the 20th Century and the first decade of the 21st Century and aims to find and set constants in the artistic and discursive process. The artistic object in its multiple appearances sets up a elational network of references. Actors in a pose and on the stage are models present and absent. The message is the visual crossed over with the verbal, Images of thought are discursive and languages intersect and intertwine in form and substance. Words and pictures are forced to coexist in the image space. The artist who does not present himself at openings, reveals himself in the work exhibited. From the theoretical research and the studies in procedures of the master, adapted for the 4th year class in Composition, lectured at Fine Arts School three decades ago, to the discipline of compositional practice of the painter, now the subject of this study, correspondences are extended. The studies in drawing, where pictorial languages are manifested in various forms of representation, in a constant back and forth of working, repeating, resuming and to then return back to painting. The search of the painter is rational, it points to existence. From the human to the divine in the pursuit of absoluteness, that can be absolute nothingness, an ontological awareness about the existence of being is established. It is with awareness of being in the world and of the history of mankind that the concerns of the painter turn into action/narration and are transcended. The models are the proof and have to withstand certain trials. The icons become necessary, since understanding lies somewhere between seeing, reading and saying
Descrição: Tese de mestrado, Pintura (Modalidade teórica), Universidade de Lisboa, Faculdade de Belas Artes, 2011
Arbitragem científica: yes
URI: http://hdl.handle.net/10451/3683
Appears in Collections:FBA - Dissertações de Mestrado

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