tag:blogger.com,1999:blog-48237705613611346462024-03-13T21:21:03.104-07:00Impressionismo: Paris e a ModernidadeCatálogo das Obras e ComentáriosUnknownnoreply@blogger.comBlogger85125tag:blogger.com,1999:blog-4823770561361134646.post-6628219350629415042012-08-19T12:59:00.000-07:002012-08-16T14:58:31.010-07:001) Noite ou O Baile<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: inherit;">Noite ou O Baile</span></div>
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<span style="font-family: inherit;">James Tissot</span></div>
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<span style="font-family: inherit;">1878</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-LIuaBA_Q5P2vMxv6YeRwMeMObrKsDsvjsq_ZrW0Q_CUjGknOsxCdc20ZgY-0QdBZEzfFJVeS8VZkQuGzDL_-Ob8agymU_nDDNPwVvcbYW5cQKmGpau7QXpf5llkrbufxPZwzXv9qFvw/s1600/1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-LIuaBA_Q5P2vMxv6YeRwMeMObrKsDsvjsq_ZrW0Q_CUjGknOsxCdc20ZgY-0QdBZEzfFJVeS8VZkQuGzDL_-Ob8agymU_nDDNPwVvcbYW5cQKmGpau7QXpf5llkrbufxPZwzXv9qFvw/s1600/1.jpg" /></a></div>
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Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-4823770561361134646.post-28445519458965030922012-08-18T13:04:00.000-07:002012-08-17T16:39:38.478-07:002) Concerto Colonne<div dir="ltr" style="text-align: left;" trbidi="on">
Concerto Colonne<br />
André Devambez<br />
s.d.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpXvjtW2Nk4BMmkFpQmBGOuLKyXpOXk-U1FnNLFUfmiLhImRJIIXVvDIt9SiIoVqQupGHXZQN8WXRcHqHzjonahUCsVzumk58zgn83PNlWJ2s803bPBe-a7ylQOycH-z1DinQikYsYBr0/s1600/2+b.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpXvjtW2Nk4BMmkFpQmBGOuLKyXpOXk-U1FnNLFUfmiLhImRJIIXVvDIt9SiIoVqQupGHXZQN8WXRcHqHzjonahUCsVzumk58zgn83PNlWJ2s803bPBe-a7ylQOycH-z1DinQikYsYBr0/s1600/2+b.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPJwPsAjCWheNKempvIC0x5oWGr8uPvoz6_5BXDMgYzRIwOzOBT4wzb_9MEdgkyN5N9etnNcn4QLzvl2YXhdzrileKMnRRKrMyKS0Ye0Sz4Zaxswul1HSb2A-tSzbGaLrKhYaun2kcHes/s1600/2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPJwPsAjCWheNKempvIC0x5oWGr8uPvoz6_5BXDMgYzRIwOzOBT4wzb_9MEdgkyN5N9etnNcn4QLzvl2YXhdzrileKMnRRKrMyKS0Ye0Sz4Zaxswul1HSb2A-tSzbGaLrKhYaun2kcHes/s640/2.jpg" width="489" /></a></div>
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O quadro em questão mostra a platéia de uma sala de concerto. A sala é luxuosa, repleta de enfeites e adornamentos que culminam no imponente lustre da porção superior direita. O amarelo-ouro da estrutura principal se intercala com tons esverdeados e se equilibra com o vermelho intenso espalhado pelo quadro. As notas brancas fazem a transição cromática para a platéia, imersa em tons escuros e de baixo contraste. Mas no interior da própria platéia reaparecem discretamente todos os tons do salão, harmonizando a composição. Não há conflito entre os tons vibrantes e os tons escuros, do mesmo modo que não há conflito entre a multidão comum dos <i>boulevares </i>parisienses e o espaço burguês em que se encontram. </div>
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As linhas curvas da platéia sugerem a disposição circular da sala de concerto. Suas diversas camadas são estabilizadas pelos arcos e pilares. A platéia está emoldurada por um sistema rígido de organização, disposta entre as camadas e sob os arcos. Assim como sua coloração se harmoniza com a do ambiente, o mesmo ocorre com sua disposição espacial. Cada pessoa é igual no interior da platéia, nenhuma se destaca das outras. A multidão está distante do observador, de modo que cada pessoa se confunde com a massa. O mesmo ocorre com a porção em primeiro plano: apesar de estarem mais próximas, estão todas de costas e ainda menos iluminadas. Ainda assim, a multidão amorfa não desafia as regras formais de organização do espaço.</div>
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Toda a platéia está absolutamente atenta, voltada para uma mesma direção. Sabemos pelo contexto que se trata de algum espetáculo e pelo nome do quadro imaginamos que seja um espetáculo musical. Mas não sabemos exatamente em que ele consiste, e, mais ainda, sequer o vemos. O artista enquadra a platéia e ressalta o espaço, mas desloca o espetáculo em função do qual se encontram. Para fazê-lo, põe parte da platéia em primeiro plano, embaixo de um arco que emoldura parte da porção esquerda e parte da porção superior. Se coloca, desse modo, na posição de um dos espectadores. Mais deslumbrado, porém, com a relação entre a multidão e o espaço do que com o próprio espetáculo. </div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4823770561361134646.post-90636959017119002032012-08-17T13:05:00.000-07:002012-08-19T20:39:12.504-07:003) A Terceira Galeria no Teatro do Châtelet<div dir="ltr" style="text-align: left;" trbidi="on">
A Terceira Galeria no Teatro do Châtelet<br />
Felix Vallotton<br />
1895<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyuI_OHQ_xTabJ4wRE3awrBsdZvXdEmtkYhJs90-3AskaGWUR3m9szZvwy6TLqbW7ih9pdBv2bu3WrlAYHvsSOqPtqiK-DyOd1lUWNPjUcyaIWiG1ugLO6rMg_OFXU6z_EML39GrbW9g0/s1600/3+a.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyuI_OHQ_xTabJ4wRE3awrBsdZvXdEmtkYhJs90-3AskaGWUR3m9szZvwy6TLqbW7ih9pdBv2bu3WrlAYHvsSOqPtqiK-DyOd1lUWNPjUcyaIWiG1ugLO6rMg_OFXU6z_EML39GrbW9g0/s1600/3+a.jpg" /></a></div>
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O quadro de Vallotton é semelhante <a href="http://expo-impressionismo.blogspot.com.br/2012/08/2-concerto-colonne.html" target="_blank"><span style="color: black;">ao de Devambez</span></a> em diversos aspectos. Também ele retrata a platéia de um espetáculo, sugere a circularidade do espaço com linhas curvas e desloca o próprio espetáculo para fora do quadro. Mas aqui o assunto não é mais a harmonia inesperada entre a multidão e o espaço. Ao contrário, há pouquíssimos espectadores na platéia e mais espaço vazio do que ocupado. </div>
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O teatro de Vallotton é praticamente monocromático, oscilando entre alguns tons de amarelo. As exceções são a parede esverdeada no canto superior esquerdo e o chão castanho escuro na porção inferior direita. A imensidão amarela é desnorteante, muito diferente do salão luxuoso de Devambez. O incômodo se intensifica com a disposição geometrizada das cadeiras e a perspectiva do espaço, levemente distorcida pelas linhas curvas.</div>
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Os olhos só encontram descanso em uma cor menos intensa e uma forma mais estável, lançando o olhar do observador diretamente para o pequeno grupo de pessoas no canto inferior esquerdo. O verde da parede do teatro reaparece no vestido de uma das moças, assim como o amarelo reaparece em um dos cabelos e o castanho reaparece em algumas peças de roupa. Ainda assim, existe tensão entre as pessoas presentes e o espaço que elas ocupam.</div>
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As pessoas aqui não compõem uma multidão, mas se diferenciam entre si - estão claramente destacadas do espaço, tanto pela sobriedade das cores quanto pela caricatura dos traços. A mulher de verde ri com escárnio, as outras senhoras olham apenas para o chão, o rapaz descansa a cabeça em uma das mãos, enquanto um guarda dorme na poltrona de trás. Todas as figuras demonstram absoluto desinteresse pelo espetáculo, incapaz de entretê-las - estão entediadas. </div>
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De modo que, com um mesmo motivo temático, Vallotton mostra a dimensão oposta de Devambez. Lá o espaço suntuoso, aqui o espaço distorcido; lá a multidão compenetrada, aqui apenas alguns desinteressados; lá a dimensão de fascínio da experiência moderna, aqui a inevitável consequência do tédio diante de tanto espetáculo. </div>
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-4823770561361134646.post-82710760447975138512012-08-16T14:48:00.001-07:002012-08-16T14:48:46.333-07:004) O Sena e Notre-Dame de Paris<div dir="ltr" style="text-align: left;" trbidi="on">
O Sena e Notre-Dame de Paris<br />
Johan Barthold Jongkind<br />
1864<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdvx528Hs72Jn2o8hf7c6GO8US1NxLd6Z4muBFsD6ILbcYYGpsliJRaM0YoYDfgG-j_i0381-gOygRkcp5TVx9uqp0yiY0-PaniCJkeF1ixNFBz-Okqj-nBBVC2KK3Q6VJ_BVcfJwZVHI/s1600/4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdvx528Hs72Jn2o8hf7c6GO8US1NxLd6Z4muBFsD6ILbcYYGpsliJRaM0YoYDfgG-j_i0381-gOygRkcp5TVx9uqp0yiY0-PaniCJkeF1ixNFBz-Okqj-nBBVC2KK3Q6VJ_BVcfJwZVHI/s640/4.jpg" width="640" /></a></div>
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Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-4823770561361134646.post-75972934670966578392012-08-16T14:47:00.001-07:002012-08-16T14:47:09.453-07:005) Os Carvoeiros ou Os Descarregadores de Carvão<div dir="ltr" style="text-align: left;" trbidi="on">
Os Carvoeiros ou Os Descarregadores de Carvão<br />
Claude Monet<br />
1876<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1nqfsas4dO5qUm0DHKNNPa29n5Pdb8unz2vG2SaN4P3PveCYloxB5tux0AOOqeGAaUE-5sEZhWfAm8oQTYmLs1eRofLt-LEdveXSA6nAiwkPCMmMHKcxYv5YJmbSTChTJTfPmKDyunbg/s1600/5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="523" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1nqfsas4dO5qUm0DHKNNPa29n5Pdb8unz2vG2SaN4P3PveCYloxB5tux0AOOqeGAaUE-5sEZhWfAm8oQTYmLs1eRofLt-LEdveXSA6nAiwkPCMmMHKcxYv5YJmbSTChTJTfPmKDyunbg/s640/5.jpg" width="640" /></a></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4823770561361134646.post-11140080654882729112012-08-16T14:45:00.001-07:002012-08-16T14:45:28.608-07:006) O Sena na Ponte de Léna. Tempo de Neve<div dir="ltr" style="text-align: left;" trbidi="on">
O Sena na Ponte de Léna. Tempo de Neve<br />
Paul Gauguin<br />
1875<br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4823770561361134646.post-53452047235194165152012-08-16T14:44:00.001-07:002012-08-16T14:44:38.864-07:007) O Sacré-Coeur Visto do Ateliê de Albert André<div dir="ltr" style="text-align: left;" trbidi="on">
O Sacré-Coeur Visto do Ateliê de Albert André<br />
Albert André<br />
1902<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2rz5rLGCzd_n73ZOw-AlVMEeluVX3MBWUdoMWzZpxvXQFd8EIVcjvjbxLmxCKkNDO1qBPcnq8cjsDHpOgP5SeeXVA7OHX_t2zQtr_zTTYDqS5tCisjajuhajebr-jYRmo5RZAzR30k6A/s1600/7.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="541" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2rz5rLGCzd_n73ZOw-AlVMEeluVX3MBWUdoMWzZpxvXQFd8EIVcjvjbxLmxCKkNDO1qBPcnq8cjsDHpOgP5SeeXVA7OHX_t2zQtr_zTTYDqS5tCisjajuhajebr-jYRmo5RZAzR30k6A/s640/7.jpg" width="640" /></a></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4823770561361134646.post-36631151898878905152012-08-16T14:43:00.003-07:002012-08-16T14:43:56.435-07:008) O Sacré-Coeur em Construção<div dir="ltr" style="text-align: left;" trbidi="on">
O Sacré-Coeur em Construção<br />
Santiago Rusiñol y Prats<br />
1890<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaxyPKL0F1ekeylpVteZsQxndjcoIR6yD3GOTnoRk9z1m8XjnyC3eopo62NsYLNrUzEOS4OTYoyVbiyGmUYziBWH2npmmtbpRFfFH0ZRb__iSuMWbQE0_OmvL2rOLYinjz2SUdHOwUCXw/s1600/8.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaxyPKL0F1ekeylpVteZsQxndjcoIR6yD3GOTnoRk9z1m8XjnyC3eopo62NsYLNrUzEOS4OTYoyVbiyGmUYziBWH2npmmtbpRFfFH0ZRb__iSuMWbQE0_OmvL2rOLYinjz2SUdHOwUCXw/s1600/8.jpg" /></a></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4823770561361134646.post-90779438511583961562012-08-16T14:43:00.001-07:002012-08-16T14:43:00.116-07:009) Montmartre, Rua Saint-Vincent<div dir="ltr" style="text-align: left;" trbidi="on">
Montmartre, Rua Saint-Vincent<br />
Stanislas Lépine<br />
c. 1878<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL1OXBMD0XWoNsSQx7PU4YOK0s0l53cAQftvepURW5Nm-Bezrftea87fHmm4lwWIGrpOdNjZg9lIzHQedVJFyQCn081QQTkIqS15IV-2wFcuWNI5JOd50Q1Rx8xkGU36-VQF6gbhZnFdY/s1600/9.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL1OXBMD0XWoNsSQx7PU4YOK0s0l53cAQftvepURW5Nm-Bezrftea87fHmm4lwWIGrpOdNjZg9lIzHQedVJFyQCn081QQTkIqS15IV-2wFcuWNI5JOd50Q1Rx8xkGU36-VQF6gbhZnFdY/s1600/9.jpg" /></a></div>
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-4823770561361134646.post-75868613552801698132012-08-16T14:42:00.001-07:002012-08-16T14:42:07.438-07:0010) Quai des Grands-Augustins<div dir="ltr" style="text-align: left;" trbidi="on">
Quai des Grands-Augustins<br />
James Wilson Morrice<br />
c. 1904<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijXCt6xijsQ2qGylHwfN6bxngNhPo1qQoFR3H_pea6shoELaHwsnwpPXgQ2PyUiGI7KQDOdGdbiegqwFN1I9fi7Zgu_VbC5ulIgexSJJC_LcXYL9OIelW1HeAGEqWpAt_i2sN0kZT4WaY/s1600/10.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijXCt6xijsQ2qGylHwfN6bxngNhPo1qQoFR3H_pea6shoELaHwsnwpPXgQ2PyUiGI7KQDOdGdbiegqwFN1I9fi7Zgu_VbC5ulIgexSJJC_LcXYL9OIelW1HeAGEqWpAt_i2sN0kZT4WaY/s1600/10.jpg" /></a></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4823770561361134646.post-63874057501201156762012-08-16T14:41:00.001-07:002012-08-16T14:41:26.131-07:0011) O Cais Saint Michel e Notre-Dame<div dir="ltr" style="text-align: left;" trbidi="on">
O Cais Saint Michel e Notre-Dame<br />
Maximilien Luce<br />
1901<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGQcfRLvgCQFNfvkeTeQVC8WWdE5TdUJV9r-krreGkWY7Dr4UCZ96VHWJlv9sejipTgTs8tFCZJ8nMXQ6IuQJTdxDrVTc-lkw3bqDPWIfzAPzZLKFkf3XaxVd70sjDSj8mbKz6Pn8IKiY/s1600/11+b.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGQcfRLvgCQFNfvkeTeQVC8WWdE5TdUJV9r-krreGkWY7Dr4UCZ96VHWJlv9sejipTgTs8tFCZJ8nMXQ6IuQJTdxDrVTc-lkw3bqDPWIfzAPzZLKFkf3XaxVd70sjDSj8mbKz6Pn8IKiY/s1600/11+b.jpg" /></a><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4823770561361134646.post-41403925920957104762012-08-16T14:38:00.001-07:002012-08-16T14:38:39.956-07:0012) O Sena e o Louvre<div dir="ltr" style="text-align: left;" trbidi="on">
O Sena e o Louvre<br />
Camille Pissarro<br />
1903<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-4823770561361134646.post-3221962036125391012012-08-16T14:37:00.001-07:002012-08-16T14:37:51.094-07:0013) O Conde Robert de Montesquieu<div dir="ltr" style="text-align: left;" trbidi="on">
O Conde Robert de Montesquieu<br />
Giovanni Boldini<br />
1897<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqDcSxAby0uLY6JIho1dppG7cLskj3FL01ZPQXEjeb-Ra00giyY5A_OK-ryi-coYgzyZMsVSWBdjdUe0fAS2XxvPz-Oz8FOg5pbMn204UmN7UUa8gv5_mMgaExVEl9wMXca4eF5RhaVgE/s1600/13.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqDcSxAby0uLY6JIho1dppG7cLskj3FL01ZPQXEjeb-Ra00giyY5A_OK-ryi-coYgzyZMsVSWBdjdUe0fAS2XxvPz-Oz8FOg5pbMn204UmN7UUa8gv5_mMgaExVEl9wMXca4eF5RhaVgE/s1600/13.jpg" /></a></div>
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Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-4823770561361134646.post-12968621788577199602012-08-16T14:36:00.001-07:002012-08-16T14:36:46.101-07:0014) Cena de Festa no Moulin Rouge<div dir="ltr" style="text-align: left;" trbidi="on">
Cena de Festa no Moulin Rouge<br />
Giovanni Boldini<br />
c. 1889<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin8SD_1co4-7twah17MlqbW3MDqvbtryTatsO1TOD0ymXtj5A4ImAjsxT2A0KrVD1XRCbwkrv19eMAuM54YHA45d7ZKJ5BCoWkdKq6EFbWgzeqllWmXLsAN1kTSvm18Fd2YRTniqWT4to/s1600/14+b.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin8SD_1co4-7twah17MlqbW3MDqvbtryTatsO1TOD0ymXtj5A4ImAjsxT2A0KrVD1XRCbwkrv19eMAuM54YHA45d7ZKJ5BCoWkdKq6EFbWgzeqllWmXLsAN1kTSvm18Fd2YRTniqWT4to/s1600/14+b.jpg" /></a></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4823770561361134646.post-62157727302856235532012-08-16T14:34:00.003-07:002012-08-16T14:34:57.163-07:0015) A Garçonete com Cervejas<div dir="ltr" style="text-align: left;" trbidi="on">
A Garçonete com Cervejas<br />
Édouard Manet<br />
c. 1878-79<br />
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-4823770561361134646.post-62071907855546085492012-08-16T14:34:00.001-07:002012-08-16T14:34:04.613-07:0016) Dançarinas Subindo uma Escada<div dir="ltr" style="text-align: left;" trbidi="on">
Dançarinas Subindo uma Escada<br />
Edgar Degas<br />
1886-90<br />
<br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4823770561361134646.post-34660430976976904732012-08-16T14:32:00.001-07:002012-08-16T14:32:52.969-07:0017) A Estação Luxembourg em Bruxelas<div dir="ltr" style="text-align: left;" trbidi="on">
A Estação Luxembourg em Bruxelas<br />
Henri Ottmann<br />
1903<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfHX2FN_oFn20Vl2EC17QNWTfHPb5AmFAiTbLpjgAR_wB6WWBs_JTAQd8eAg4JBLSoqqrssmC9toR2E1sxl6bL0yr7ZdOctQKZ3RMHNUKXXBeReGzjQRY9UP4FTcuDRjA_OYR1plhT-Z0/s1600/17.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="472" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfHX2FN_oFn20Vl2EC17QNWTfHPb5AmFAiTbLpjgAR_wB6WWBs_JTAQd8eAg4JBLSoqqrssmC9toR2E1sxl6bL0yr7ZdOctQKZ3RMHNUKXXBeReGzjQRY9UP4FTcuDRjA_OYR1plhT-Z0/s640/17.jpg" width="640" /></a></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4823770561361134646.post-65628329736310992072012-08-16T14:31:00.001-07:002012-08-16T14:31:25.555-07:0018) A Estação Saint Lazare<div dir="ltr" style="text-align: left;" trbidi="on">
A Estação Saint Lazare<br />
Claude Monet<br />
1877<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg49IUvc01d7qIK-1QESNTiXekHwwFtlfDMAoCis1cV5E7C5zidjtldQGqS03NzD5xAnN-9o09K5RGMI8x5-O9gIb80WSgyGkfLZZFvHvN7qeJSs_WaIXK3Z8ri23R7ZNAZNCX_KVsaGKk/s1600/18.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="478" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg49IUvc01d7qIK-1QESNTiXekHwwFtlfDMAoCis1cV5E7C5zidjtldQGqS03NzD5xAnN-9o09K5RGMI8x5-O9gIb80WSgyGkfLZZFvHvN7qeJSs_WaIXK3Z8ri23R7ZNAZNCX_KVsaGKk/s640/18.jpg" width="640" /></a></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4823770561361134646.post-11763081679886652522012-08-16T14:29:00.001-07:002012-08-16T14:29:51.234-07:0019) As Tuileries<div dir="ltr" style="text-align: left;" trbidi="on">
As Tuileries<br />
Claude Monet<br />
1875<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwVEsjpGjTsxCfoxWgDK16i_3HKWvrhy4ZrQar87eMbMDs9j1r4HQWS7Twm8tg46_xJrQcbOpEANMEeZmBbcTo2h57MDLz7Xdxu4JHQMtngntH9dpsyCESRxJ3aMB99zDcJm9cvYL6v38/s1600/19.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwVEsjpGjTsxCfoxWgDK16i_3HKWvrhy4ZrQar87eMbMDs9j1r4HQWS7Twm8tg46_xJrQcbOpEANMEeZmBbcTo2h57MDLz7Xdxu4JHQMtngntH9dpsyCESRxJ3aMB99zDcJm9cvYL6v38/s1600/19.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO7cc8U9JmA104h5NbJZgIzrklDOBWtO35BIM0btcxLwVypsLhf-8WKevS0gtbu9sv3dARhJcTHQb2VzUC3godrkDLrYsZNL3d0vZ53qW3K-EU86e4UaxDOCvmFOK8RsP_edc-A6tOquU/s1600/19+c.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="432" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO7cc8U9JmA104h5NbJZgIzrklDOBWtO35BIM0btcxLwVypsLhf-8WKevS0gtbu9sv3dARhJcTHQb2VzUC3godrkDLrYsZNL3d0vZ53qW3K-EU86e4UaxDOCvmFOK8RsP_edc-A6tOquU/s640/19+c.jpg" width="640" /></a></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4823770561361134646.post-4919270729305557972012-08-16T14:28:00.001-07:002012-08-16T14:28:33.586-07:0020) Mulher com Boá Preto<div dir="ltr" style="text-align: left;" trbidi="on">
Mulher com Boá Preto<br />
Henri de Toulouse-Lautrec<br />
1892<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE7ZSEGzcymHJJiS0WgG-9eZ6baaxdnQEkyx9etS52vCUftXzePtFvneQNcsEGNosr8CQjBIFultiXmh7BfAnI7b0WYK1qm_TUdubfX6JapcKIlMhnlVi_W7veWNuhX-f6YLi2YNURx4g/s1600/20.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE7ZSEGzcymHJJiS0WgG-9eZ6baaxdnQEkyx9etS52vCUftXzePtFvneQNcsEGNosr8CQjBIFultiXmh7BfAnI7b0WYK1qm_TUdubfX6JapcKIlMhnlVi_W7veWNuhX-f6YLi2YNURx4g/s640/20.jpg" width="477" /></a></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4823770561361134646.post-3756276090344676412012-08-16T14:26:00.001-07:002012-08-16T14:26:35.320-07:0021) A Mulher de Luvas<div dir="ltr" style="text-align: left;" trbidi="on">
A Mulher de Luvas<br />
Henri de Toulouse-Lautrec<br />
1890<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVWaTDiW3NguqVd9dSc8lsdLktOVmPKwR310L7KvRb05tG7a3dR8pa24-EQVhsOybpfe-OZsz_DVkX7gTyO5sSyaikwjnv_YjT4S05aRm1vohPO-xIdAgsrWfxp1fvIE7MGk4LRc-vmkE/s1600/21.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVWaTDiW3NguqVd9dSc8lsdLktOVmPKwR310L7KvRb05tG7a3dR8pa24-EQVhsOybpfe-OZsz_DVkX7gTyO5sSyaikwjnv_YjT4S05aRm1vohPO-xIdAgsrWfxp1fvIE7MGk4LRc-vmkE/s640/21.jpg" width="440" /></a></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4823770561361134646.post-64597469516237882662012-08-16T14:25:00.001-07:002012-08-16T14:27:25.643-07:0022) Mulher na Rua<div dir="ltr" style="text-align: left;" trbidi="on">
Mulher na Rua<br />
Louis Anquetin<br />
c 1900<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4zlfQYrdWxQTr_pEr6AjFS7oudxj9xnl6pwmTLs2GYfjKyUPLsGYy2T6U9eGFcdmsc49IgyYWJrUhGS2EfJdcQKyv7xDZgMU7KGij2ObbckTkkaeNcH89H-mmPHsgZ6oAevUorT9WsoU/s1600/22+b.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4zlfQYrdWxQTr_pEr6AjFS7oudxj9xnl6pwmTLs2GYfjKyUPLsGYy2T6U9eGFcdmsc49IgyYWJrUhGS2EfJdcQKyv7xDZgMU7KGij2ObbckTkkaeNcH89H-mmPHsgZ6oAevUorT9WsoU/s1600/22+b.jpg" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMQTuDTmks1tdJYkd6DKi8_AaL-lCGqBulYotfXQdCsX6RPKDh7aZLKIbALm8FPc66L9om22M6aEULxzBP1YnZ1Va6gnv17ZUUaU6Bu7Ru4Gn2SQXLzYV51fG7SAKAffEFtxIjUxCwAxI/s1600/22.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMQTuDTmks1tdJYkd6DKi8_AaL-lCGqBulYotfXQdCsX6RPKDh7aZLKIbALm8FPc66L9om22M6aEULxzBP1YnZ1Va6gnv17ZUUaU6Bu7Ru4Gn2SQXLzYV51fG7SAKAffEFtxIjUxCwAxI/s640/22.jpg" width="436" /></a><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4823770561361134646.post-19202860728323438842012-08-16T14:24:00.003-07:002012-08-24T12:15:20.488-07:0023) Gabrielle e Jean<div dir="ltr" style="text-align: left;" trbidi="on">
Gabrielle e Jean<br />
Pierre-Auguste Renoir<br />
1880<br />
<br />
<div class="separator" style="clear: both; text-align: left;">
</div>
<div class="MsoNormal" style="background: white; line-height: 16.2pt; margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzN0QoOlTtpe5TQ6zd4IHMVjG6nBfsH6dbVFpcLS8jzsPb5zRKm8r8wyzW7IRQiIvwfvgguByqQk5Q92zqux49OQvKsvU7wvsOVlGxtbutpVIIzksulARpS8WuXGW5cRkqNkGRLdogfOs/s1600/23.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzN0QoOlTtpe5TQ6zd4IHMVjG6nBfsH6dbVFpcLS8jzsPb5zRKm8r8wyzW7IRQiIvwfvgguByqQk5Q92zqux49OQvKsvU7wvsOVlGxtbutpVIIzksulARpS8WuXGW5cRkqNkGRLdogfOs/s640/23.jpg" width="529" /></a><span style="color: #898989; font-family: "Helvetica","sans-serif"; font-size: 9.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: PT-BR;">O quadro de Renoir mostra sua esposa brincando com
seu filho. A técnica de composição é nitidamente impressionista: a percepção
das figuras brota da conjugação das pinceladas. As notas cromáticas são
originariamente autônomas, é o olhar do observador que, aproximando-as,
estabelece o senso de totalidade. Ainda assim, seu impressionismo é rarefeito
quando comparado ao de seus pares. <o:p></o:p></span></div>
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<span style="color: #898989; font-family: "Helvetica","sans-serif"; font-size: 9.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: PT-BR;">A pintura não é orientada por uma estrutura prévia
de desenho, mas concebida através da própria pincelada. As cores e formas do
que parece ser um papel de parede florido se misturam imprecisas, assim como os
brinquedos se misturam com a mesa. Mas o contorno das figuras principais é
nítido, ainda que oscile em tensões com a cor adjacente, diferenciando os
objetos do mesmo modo que um desenho. <o:p></o:p></span></div>
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<span style="color: #898989; font-family: "Helvetica","sans-serif"; font-size: 9.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: PT-BR;">A pincelada do artista é denunciada, na medida em
que a coloração não imita a incidência da luz tal como na pintura acadêmica.
Mas as pinceladas se confundem em manchas de cor, perdendo sua autonomia. E
algumas vezes, ainda, essa mistura tonal se assemelha a uma gradação de <i>chiaroscuro</i> - claramente visível na
dobra das roupas -, reaproximando o mesmo desenho de que a técnica
impressionista quer distanciar-se. <o:p></o:p></span></div>
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<span style="color: #898989; font-family: "Helvetica","sans-serif"; font-size: 9.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: PT-BR;"> A dissolução do referente, aqui, possui um
efeito mais próximo de Turner do que de Monet. Ele se perde em pinceladas, mais
do que surge através delas; se dissolve para simular a percepção da luz, mais
do que ela, inevitavelmente, o evoca. A pretensão de registro objetivo da
sensação visual, em função da qual surge a própria técnica impressionista,
nunca se emancipará da poética dos temas em Renoir. </span></div>
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<span style="color: #898989; font-family: "Helvetica","sans-serif"; font-size: 9.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: PT-BR;"><br /></span>
<span style="color: #898989; font-family: "Helvetica","sans-serif"; font-size: 9.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: PT-BR;"><br /></span>
<span style="color: #898989; font-family: "Helvetica","sans-serif"; font-size: 9.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: PT-BR;">Estão à mesa brincando o filho e a esposa do
pintor. As feições são serenas e os movimentos são leves. A criança observa o
manuseio da mãe e tenta copiá-la. Ambos se encontram tomados pelo mesmo
sentimento, em torno do qual gravita toda a composição do quadro. O gesto
protetor, que envolve a criança com o braço esquerdo, coroa a harmonia
atmosférica da cena. <o:p></o:p></span></div>
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<div class="MsoNormal" style="background: white; line-height: 16.2pt; margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="color: #898989; font-family: "Helvetica","sans-serif"; font-size: 9.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: PT-BR;">Esse mesmo gesto reaparece na composição cromática,
com o azul escuro envolvendo o azul claro. Mas entre as sombras da criança e os
pontos luminosos da mãe, as duas tonalidades parecem se aproximar, ecoando nas
paredes. As bochechas rosadas tornam o vínculo entre as figuras inegável, e
mesmo as mãos, que trabalham juntas, se confundem umas com as outras. <o:p></o:p></span></div>
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<span style="color: #898989; font-family: "Helvetica","sans-serif"; font-size: 9.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: PT-BR;">As mãos quase não contrastam com o amarelo e o
castanho escuro da mesa, assim como os contornos são imprecisos entre a mesa e
os animais de brinquedo. Eles são manuseados com delicadeza, como uma condução,
mais do que uma coerção. Estão envoltos pelo que parece um papel de parede
florido, marcando a relação de harmonia entre homem e natureza. <o:p></o:p></span></div>
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<span style="color: #898989; font-family: "Helvetica","sans-serif"; font-size: 9.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: PT-BR;">A leve imprecisão dos contornos e as manchas
cromáticas conferem à cena um caráter brumoso, quase onírico. Monet falava na
técnica impressionista como forma de registrar a sensação visual antes que ela
se alterasse. Enquanto isso, Renoir parece utilizar a mesma técnica como quem
se apressa em relatar um sonho antes que o esqueça. A técnica é semelhante, mas
os resultados são absolutamente diferentes. Um corre no tempo do dia, o outro
do tempo da memória.</span></div>
</div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-4823770561361134646.post-49418333329429795822012-08-16T14:24:00.001-07:002012-08-16T14:24:04.371-07:0024) Mulher com Jabó Branco<div dir="ltr" style="text-align: left;" trbidi="on">
Mulher com Jabó Branco<br />
Pierre-Auguste Renoir<br />
1880<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj97Tfe1wfdZCS6lZkfR0rSk8wzloU1h2z4dUXPW_t6nKexD3Z4a24xp5IvdaAIq-yEhep7UHjFbce9V5UpYzCCbepsMkSRM5xGbX10S1H97yhB1K2kCEMZd60slpVnxWSu7Zi7Z7JV30/s1600/24+a.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj97Tfe1wfdZCS6lZkfR0rSk8wzloU1h2z4dUXPW_t6nKexD3Z4a24xp5IvdaAIq-yEhep7UHjFbce9V5UpYzCCbepsMkSRM5xGbX10S1H97yhB1K2kCEMZd60slpVnxWSu7Zi7Z7JV30/s640/24+a.jpg" width="472" /></a></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-4823770561361134646.post-24366071868730371662012-08-16T14:22:00.001-07:002012-08-24T07:09:38.414-07:0025) Casal na Rua<div dir="ltr" style="text-align: left;" trbidi="on">
Casal na Rua<br />
Charles Augrand<br />
1887<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj0vdhvpTllr8ikJVxaHDL6Em6gSyK-pMkV7itAz5XockADLysX-tjTEXyocjdMCYAvljQj6eBDTa4E_Moa3__inqMj-4_hW66vtMecIB1fX6MN7k5kd3EkGDdPVMGZ5pFbXqBlkSzWBE/s1600/25.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjj0vdhvpTllr8ikJVxaHDL6Em6gSyK-pMkV7itAz5XockADLysX-tjTEXyocjdMCYAvljQj6eBDTa4E_Moa3__inqMj-4_hW66vtMecIB1fX6MN7k5kd3EkGDdPVMGZ5pFbXqBlkSzWBE/s1600/25.jpg" /></a></div>
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Unknownnoreply@blogger.com0