Publicação
A essência da linha e do desenho para a escultura : Alexander Calder, Amílcar Pereira de Castro, David Oliveira
| datacite.subject.fos | Escultura (Especialidade em Estudos de Escultura) | pt_PT |
| dc.contributor.advisor | Matos, António, 1954- | |
| dc.contributor.author | Veras, Célia Cristina de Siqueira Cavalcanti, 1965- | |
| dc.date.accessioned | 2015-11-04T14:49:55Z | |
| dc.date.available | 2015-11-04T14:49:55Z | |
| dc.date.issued | 2015-09-28 | |
| dc.date.submitted | 2015-11-04 | |
| dc.description.abstract | By proposing dialogue between these keywords: the Essence, the line, the form, the drawing and sculpture; the essence, as an intellectual and guiding stroke, which acts as a basis for the existence and objective of the line, which in turn develops as a starting point for the drawing, the form and it´s representing material aspects, and from this idea, we intend to explore the creativity and orientation of thought for execution and sculptural possibilities, while integrating the essence, the line, the design and the form to three-dimensional concreteness. To achieve this, we studied the work of some of the sculptors who use the essence of line and form in their sculptural objects. Such as: Alexander Calder, Amílcar Pereira de Castro and David Oliveira. This dissertation aims the search the works of contemporary sculptors Alexander Calder, Amílcar de Castro and David Oliveira, based on the cultural context of each of them in which we perceive a common thread in the context of forming elements where the design takes integral and fundamental part in three-dimensional construction. Therefore we analyzed in three stages the personal trajectory of each artist through: 1- Analysis of sculptural elements, it´s objectivity and subjectivity on the chosen matter, the craft and technique, which establishes the practice in which the form is the exteriorization imaginative capacity, as well as the significance of form in generating various unique emotions, transforming Sculptural Space, by way of innovating ideas and languages. 2- The Importance of the drawing as a transforming language it will goes from two-dimensional to three-dimensional, such as the essence of the Work of Art when being experienced and apprehended, from the basic study of the line, which gives the artist a free and borderless study of forms of imaginative representation, through the drawing, which brings out the thought in graphic organization, revealing through the drawings of sculptors over time their research, discoveries and lived influences | pt_PT |
| dc.identifier.tid | 201330954 | |
| dc.identifier.uri | http://hdl.handle.net/10451/20377 | |
| dc.language.iso | por | pt_PT |
| dc.subject | Calder, Alexander, 1898-1976 | pt_PT |
| dc.subject | Castro, Amilcar Pereira de, 1920-2002 | pt_PT |
| dc.subject | Oliveira, David, 1980- | pt_PT |
| dc.subject | Escultura | pt_PT |
| dc.subject | Essência | pt_PT |
| dc.subject | Desenho | pt_PT |
| dc.subject | Forma | pt_PT |
| dc.subject | Linhas | pt_PT |
| dc.title | A essência da linha e do desenho para a escultura : Alexander Calder, Amílcar Pereira de Castro, David Oliveira | pt_PT |
| dc.type | master thesis | |
| dspace.entity.type | Publication | |
| rcaap.rights | openAccess | pt_PT |
| rcaap.type | masterThesis | pt_PT |
| thesis.degree.name | Tese de mestrado, Escultura (Especialidade em Estudos de Escultura), Universidade de Lisboa, Faculdade de Belas Artes), 2015 | pt_PT |
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