Materialidade da pintura: das primeiras manifestações até à Arte Povera

Abstract

The object of this dissertation was to study the supports and materials of painting, which I tried to study by considering certain moments in art history and the work of some 20th century artists. I began by asking myself about the parietal art of Palaeolithic artists. I then left that territory and investigated the case of Arte Povera in the artistic neo-avant-gardes of the 20th century, driven by the same question. This approach to what is far from us and what is close seemed to me to be justified by the organic character and the anthropological and ecological gesture that I observed in the artists of the 1970s who were part of the first group of Arte Povera, as well as in others who make up its extended family. In conjunction with my practical work, which I have entitled Vinoo Aes Oui, I have observed in the practice of three artists who have influenced me how, through processes of appropriation, fragmentation and recycling of poor materials, they can be approached to each other through the creation of palimpsests. Another aspect I considered from an art based on the poverty and recycling of materials was its multicultural and anthropological character.