A carregar...
Publicação
Imaginário figurativo na pintura de Barahona Possolo: entre o simbolismo e o fantástico
| Nome: | Descrição: | Tamanho: | Formato: | |
|---|---|---|---|---|
| 28.05 MB | Adobe PDF |
Autores
Orientador(es)
Resumo(s)
Esta
dissertação
procura
estudar
e
realçar
a
originalidade
da
obra
do
pintor
Carlos
Pedro
Barahona
Possolo
(n.
Lisboa,
1967)
cujo
trabalho,
invulgar
e
singular,
se
desvia
declaradamente
do
mainstream,
enveredando,
nos
seus
antípodas
por
um
estilo
individualizado
e
original,
figurativo
e
realista,
que
se
aprecia
na
sua
obra
através
de
representações
e
cenas
neo-‐simbólicas,
mágicas
e
fantásticas.
Investigando
todos
os
aspectos
do
seu
trajecto
artístico
e
da
sua
pintura,
tão
particulares
quanto
a
sua
própria
personalidade,
concluímos
que
os
mesmos
decorrem
de
uma
forte
influência
de
diversos
estilos
não
só
do
passado,
como
actuais,
que
o
marcaram
de
uma
forma
decisiva
e
determinante.
Seguindo
uma
trajectória
que
se
inicia
no
Maneirismo
do
século
XVI,
passa
pelo
Barroco
de
inspiração
seiscentista,
pelo
Romantismo
do
século
XIX
e
pelo
Simbolismo,
não
esquecendo
a
estética
da
Pintura
Fantástica,
que
Barahona
Possolo
declaradamente
absorve,
foi
feita
uma
análise
comparativa,
não
só
iconográfica
como
também
formal,
entre
o
pintor
e
esses
estilos,
que
o
mesmo
reinterpreta,
renova,
reinventa
à
sua
maneira,
usando
a
sua
fértil
e
ousada
criatividade
e
imaginação.
No
final,
após
uma
breve
e
sucinta
abordagem
à
pintura
contemporânea
out
of
the
stream,
analisada
no
contexto
internacional
e
que
se
apresenta
na
linha
de
Barahona
Possolo
e
da
sua
geração,
formula-‐se
a
pergunta
possível:
Será
Barahona
Possolo
um
dissidente,
um
artista
contracorrente
ou,
pelo
contrário,
integrar-‐se-‐á
no
horizonte
de
uma
nova
Pintura,
de
uma
nova
corrente,
uma
outra
estética,
que
cada
vez
mais,
a
nível
internacional
e
não
só,
vai
ganhando
admiradores
e adeptos?
ABSTRACT: This dissertation seeks to study and enhance the originality of the work of contemporary painter Carlos Pedro Barahona Possolo, whose work, unusual and unique, reportedly deviates from the mainstream, embarking in their antipodes by an individual and unique style, figurative and realistic, which we can enjoy in his work, through neo-‐ symbolic, magical and fantastic representations and scenes. Investigating all aspects of his artistic journey and his painting, as distinct as his own personality, we conclude that they are due to a strong influence of various styles, not only from the past but also from the present, which mark his work on a decisive way. Through a trajectory that begins in the Mannerism of the sixteenth century, the Baroque of the seventeenth century, the nineteenth-‐century Romanticism and Symbolism, not forgetting the aesthetics of Fantastic painting, that Barahona Possolo reportedly absorbs, a comparative analysis was made, not only iconographic but also formal, between the painter and these styles, that he re-‐interprets, renews and re-‐invents in his own terms, using his fertile and daring imagination and creativity. In the end, after a brief and succinct approach to contemporary painting out of the stream, and analyzed in the international context presented in the line and in the generation of Barahona Possolo, we want to finalize with a possible question: Is Barahona Possolo a dissident, a countercurrent artist, or, on the contrary, does he integrate the horizon of a new painting, a new chain, another aesthetic that increasingly, internationally, and not only, is gaining admirers and followers? Keywords:
ABSTRACT: This dissertation seeks to study and enhance the originality of the work of contemporary painter Carlos Pedro Barahona Possolo, whose work, unusual and unique, reportedly deviates from the mainstream, embarking in their antipodes by an individual and unique style, figurative and realistic, which we can enjoy in his work, through neo-‐ symbolic, magical and fantastic representations and scenes. Investigating all aspects of his artistic journey and his painting, as distinct as his own personality, we conclude that they are due to a strong influence of various styles, not only from the past but also from the present, which mark his work on a decisive way. Through a trajectory that begins in the Mannerism of the sixteenth century, the Baroque of the seventeenth century, the nineteenth-‐century Romanticism and Symbolism, not forgetting the aesthetics of Fantastic painting, that Barahona Possolo reportedly absorbs, a comparative analysis was made, not only iconographic but also formal, between the painter and these styles, that he re-‐interprets, renews and re-‐invents in his own terms, using his fertile and daring imagination and creativity. In the end, after a brief and succinct approach to contemporary painting out of the stream, and analyzed in the international context presented in the line and in the generation of Barahona Possolo, we want to finalize with a possible question: Is Barahona Possolo a dissident, a countercurrent artist, or, on the contrary, does he integrate the horizon of a new painting, a new chain, another aesthetic that increasingly, internationally, and not only, is gaining admirers and followers? Keywords:
Descrição
Palavras-chave
Possolo, Barahona, 1967 - Crítica e interpretação Pintura - Portugal - séc. 20-21 Teses de mestrado - 2014