Sunday, October 15, 2006
Sculpture
Sculpture is an art that represents plastic images in total or partial relief. Several techniques exist of working the materials, as the cinzelação, the foundry, the molding or the gathering of particles for the creation of an object. . Several materials are rendered to this art, some more perennial ones as the brass or the marble, other easier to work, as the clay, the wax or the wood. Although they can be used to represent any thing, or even thing any, traditionally the larger objective always went represent the human body, or the divinity antropomórfica. Techniques, forms and materials used through most of the history, the artists' works that were used of the material ones stayed more perennial and you lasted possible as the stone (marble, stone calcárea, granite) or you put (brass, gold, silver). Or that used techniques to improve the durability of material rights (clay, terracota) or that used the materials of organic origin more possible noblemen (durable wood as ebony, jacaranda, materials as ivory or amber). But in a general way, although he/she/it can sculpt in almost everything that gets to maintain for at least some hours the idealized form (butter, ice, wax, plaster, sands wet), those ephemeral works cannot be appreciated by a public that is not coevo. The choice of a material usually implies in the technique using. The cinzelação, when of a material block he/she leaves what it exceeds the illustration using own court tools, for stone or wood; the modelagem, when it is joined plastic material until getting the wanted effect, for wax or clay; the foundry, when hot metal is flowed in a mold done with other materials. Modernamente, new techniques, as fold and it welds of metallic foils, moldings with resins, armed or plastic betão, or even the use of the coherent light to give a tridimensionalidade sensation, it has been tried and the time will only say which will be perennial. Through the time, some forms specify of sculptures used that other forms: THE bust, species of picture of the powerful of the time; the equestrian statue, typically showing a powerful gentleman in its horse; Fontes of water, especially in Rome, to crown its fabulous aqueducts and where the average water had a paper to represent; statue, representing a person or a god in form antropomórfica; High or Low-relief, the way of illustrating a history in stone or metal; furniture, usually used in gardens.
Sculpture in the World
Image of Shiva, in bronzeAs first sculptures in India is attributed to the civilization of the it is worth of the Going, where works in stone and brass were discovered, being one of the oldest sculptures of the world. Later, with the development of the Hinduism, of the Buddhism, and of the jansenismo, this area produced some of the most intricate and elaborated bronzes. Some sanctuaries, as the one of Ellora, introduce China Some of the warriors of the Army of terracota of Chinese XianArtefatos they date of the century 10 a.C., but some selected periods had prominence: Dinastia Zhou (1050-771 a.C.) it produced some intrincados vases in melted brass; Dinastia Han (206-220 a.C.) it presented the spectacular Army of terracota of Xian, in natural size, defending the emperor's tomb; The first sculptures of it influences Buddhist they appear in the period of the Three kingdoms (century 3); Dinastia Wei (centuries 5 and 6) us of the the sculpture of the grotesque Giants, recognized by its qualities and elegance. The considered period the age of gold of China is the Dinastia Tang, with its Buddhist sculptures, some monumental, considered treasures of the world art. After this period the quality of the Chinese sculpture dropped a lot. It is interesting to notice that the Chinese art doesn't have nude, as it is common in the western art, except small statues for the traditional doctors' use. He/she also has few pictures, except in the mosteiros, where they were more common. And anything than it was produced after the Dinastia Ming (after century 17) it was recognized as good for the museums and art collectors. Last century, it influences it of the socialist realism of Soviet origin it ruined what remained of the Chinese art. It is waited that the resurgence and opening for the western world swallow the Chinese art to its place of merit. Japão Imagem of BudaJaponeses did many associated statues the religion, most under the government's patronage. Notables were the calls ‘'haniva ' ', sculptures in clay placed on tombs, in the period ‘'Kofun ' '. The image in wood of the century 9 of ‘'Shakyamuni ' ', a historical Buda is typical sculpture of the era ‘'Heian ' ', with its curved body, covered with a dense drapeado and with an austere facial expression. The school Key created a new style, more realist. America Exist few copies of before Columbus sculptures in the American continent, among them the famous statues of the Island of Passover, some sculptures, mainly in high-relief, decorating constructions Maia and Aztec of Peru to Mexico and some primitive pieces in wood or clay, generally with meaning religious person, of the native people of every America. In the remaining, he/she/it only began to produce art starting from the century 16, already under influence of the Baroque, with prominence for religious images in wood, terracota and soft stone in the places of it influences Catholic. In the countries of Protestant religion, for its largest resistance to the religious use of images, it was later the artists' aparecimento, entering directly in the Neoclassicist for influence of the European culture. Starting from there, with the transport easiness and communications, the art in America was a lot similar to the one of Europe. Africa THE art of Africa has a special emphasis for the sculpture, especially in ebony and other noble wood. Besides the divinities antropomórficas, he/she has special interest the ritual masks. The oldest sculptures are of the culture Nok (about 500 the. C.), in the territory where now he/she meets Nigeria. Western Europe A sample of the marbles of ElginA classic Greece is with certainty the western cradle of the art of sculpting, from its first engines starting from the century 10 a.C., in marble or brass, until the acme of the era of Péricles (century 5 a.C.), with the sculptures of the Acropolis of Athens it was also when some sculptors began to receive individual recognition, like Fídias. It produced works impares,como Vitória of Samotrácia, the marbles of Elgin or Vénus of Milo. Starting from the Greeks, the Romans, after a beginning in the tradition etrusca, hugged the classic culture and they continued to produce sculptures until the end of the empire, in a monumental scale and in an impressive amount, spreading mainly the work in marble for the whole empire. After the end of the empire and the age of the darkness, where not very he/she made himself, we had some Gothic sculptures (centuries 12 e13), basically as decoration of churches, as the door of the cathedral of Chartres, funereal art with its elaborated tombs and the famous gargoyles.
Everything seemed to culminate in the Renaissance, with masters as Donatello and its Davi in brass, the equestrian statue of Gattamelata or its countless sculptures in marble, making way for Michelangelo's larger work, with its magnificent David in marble, Pietá, or Moisés. David of Florence is probably the sculpture more href = " http://photos1.blogger.com/blogger2/7085/4285/1600/200px-famosa of the world since it was revealed on September 8, 1504. It is an example of the contrapposto, style of positioning human illustrations. When Benvenuto Cellini created a saltcellar in gold and ebony in 1540, showing Neptune and Anfitrite in prolonged forms and uncomfortable positions, it transformed Naturalismo and it created the larger work of Maneirismo that turned the Baroque in its more exaggerated form, that it increases external elements, as illumination effects. Bernini was without he/she doubts the most important sculptor of that period, with works as Ecstasy of Santa Teresa. After the excesses of the Baroque, Neoclassicismo is a turn to the model classic helenista, before the confused years of the Modernism, that had the magnificent work in brass of French Auguste Rodin and yours THE Thinker, and later it buried the classic tradition with the Cubism, the Futurism, Minimalismo, the Facilities and Pop Art.
Everything seemed to culminate in the Renaissance, with masters as Donatello and its Davi in brass, the equestrian statue of Gattamelata or its countless sculptures in marble, making way for Michelangelo's larger work, with its magnificent David in marble, Pietá, or Moisés. David of Florence is probably the sculpture more href = " http://photos1.blogger.com/blogger2/7085/4285/1600/200px-famosa of the world since it was revealed on September 8, 1504. It is an example of the contrapposto, style of positioning human illustrations. When Benvenuto Cellini created a saltcellar in gold and ebony in 1540, showing Neptune and Anfitrite in prolonged forms and uncomfortable positions, it transformed Naturalismo and it created the larger work of Maneirismo that turned the Baroque in its more exaggerated form, that it increases external elements, as illumination effects. Bernini was without he/she doubts the most important sculptor of that period, with works as Ecstasy of Santa Teresa. After the excesses of the Baroque, Neoclassicismo is a turn to the model classic helenista, before the confused years of the Modernism, that had the magnificent work in brass of French Auguste Rodin and yours THE Thinker, and later it buried the classic tradition with the Cubism, the Futurism, Minimalismo, the Facilities and Pop Art.
Digital art
Digital art is that produced in atmosphere graphic computacional. It is used of digital and virtual processes. It includes experiences with net art, web art, video-art, etc. He/she has the objective of to give virtual life the things and to show that the art is not only made the hand. Several categories of digital art exist such an as digital painting, digital gravura, programs of modelação 3D, edition of pictures and images, animation, among others. The results can be appreciated in impressions in special papers or in the own atmosphere graphic computacional. Several artists use these techniques. Unlike the traditional ways, the work is produced by digital means. The appreciation of the work of art can be made in the digital atmospheres or in traditional mídias. Now some returned virtual communities exist the popularization of the Digital Art, the largest and more acquaintance is Deviantart. Of the point of view of the graphic computation, the digital arts are produced in atmospheres digital bidimensionais 2D. It is possible to generate and interagir objects in a plan. (axes x,y, the axis z is null or zero.). It is sub-divided in images bitmapeadas (raster images) and vectorial images (vector images). The artitsas uses several techniques for elaboration of its works. One of them is the use of tables digitalizadoras because they allow more line freedom. Some other artists that only use these techniques to do initial studies of the traditional definitive works still exist.
Bitmapeadas Uses maps of Bits for generation of the images.
Manipulation of photos One of the main areas of the expressions digital art. He/she consists of manipulating a picture, being this visible manipulation besides change of colors. He/she should stay in mind that can only be used pictures of “stock” (pictures in which the author specifies that such they can be used for art works of other, not only manipulation of photos, but also as reference for drawings and paintings, art vector, three-dimensional, and other models.) to accomplish manipulations that don't infringe the laws of authorial copyright.
Painting digital digital Painting or digital illustration, are generation of works using specific programs for edition of image that you/they simulate the painting in oil on screen. Very auspiciously watercolor possibilities exist, low-reliefs, etc.
I draw digital THE digital drawing is elaborated by means of virtual tools that simulate used them in the Traditional Art. It is the aspect more acquaintance of the Digital Art, constantly confused with the same.
Inside of this category of digital art the Digital Paintings, digital gravura and the works of Oekaki are fit. The paintings anything healthier than digital drawings done with larger attention in relation to details, shades and lights. It is the equivalent digital to the paintings in pictures and screens.
Pixelart A form maid entirely pixels map, using the simplest of the digital tools (known as “Pencil”). Each pixel is placed in a specific place with the objective of to improve the representation iconográfica of the image and to complete the artist's original intention. The so well-known and popular ones “emoticons” they are works of pixel art. This technique is also very important in the development of the icons and tools of the graphic interfaces of the softwares.
Tends in view that most of the terms in graphic computation has origin in the English language, it is possible to exist different interpretations, for example, for vectorial art and pixel art.
Art Oekaki Saint intuitive digital drawings, done with hurry and without attention none in relation to the details, illumination and other aspects that demand attention and time. They are usually images for competitions with limited times. The illustrations use vectors. It allows the generation of excellent results. These graphic illustrations are characterized by using of vectors to define the primitive ones geometric. The lines, circles, polygons, etc they are defined for mathematical registrations. This process allows the alteration of each geometric endidade in an independent way. One of the practical examples consists of transforming a picture in a vectorial image, call this vetorização process. This process loses nuances of the original, becoming less realist. Several software options that use these tools exist. Among them Corel Draw, Marinate Ilustrator, Fireworks (software proprietor) or Inkscape (free software). Everybody possesses several applications. They are frequently used for creation of the stationery of a company than for illustration), based on the original geometric forms
Bitmapeadas Uses maps of Bits for generation of the images.
Manipulation of photos One of the main areas of the expressions digital art. He/she consists of manipulating a picture, being this visible manipulation besides change of colors. He/she should stay in mind that can only be used pictures of “stock” (pictures in which the author specifies that such they can be used for art works of other, not only manipulation of photos, but also as reference for drawings and paintings, art vector, three-dimensional, and other models.) to accomplish manipulations that don't infringe the laws of authorial copyright.
Painting digital digital Painting or digital illustration, are generation of works using specific programs for edition of image that you/they simulate the painting in oil on screen. Very auspiciously watercolor possibilities exist, low-reliefs, etc.
I draw digital THE digital drawing is elaborated by means of virtual tools that simulate used them in the Traditional Art. It is the aspect more acquaintance of the Digital Art, constantly confused with the same.
Inside of this category of digital art the Digital Paintings, digital gravura and the works of Oekaki are fit. The paintings anything healthier than digital drawings done with larger attention in relation to details, shades and lights. It is the equivalent digital to the paintings in pictures and screens.
Pixelart A form maid entirely pixels map, using the simplest of the digital tools (known as “Pencil”). Each pixel is placed in a specific place with the objective of to improve the representation iconográfica of the image and to complete the artist's original intention. The so well-known and popular ones “emoticons” they are works of pixel art. This technique is also very important in the development of the icons and tools of the graphic interfaces of the softwares.
Tends in view that most of the terms in graphic computation has origin in the English language, it is possible to exist different interpretations, for example, for vectorial art and pixel art.
Art Oekaki Saint intuitive digital drawings, done with hurry and without attention none in relation to the details, illumination and other aspects that demand attention and time. They are usually images for competitions with limited times. The illustrations use vectors. It allows the generation of excellent results. These graphic illustrations are characterized by using of vectors to define the primitive ones geometric. The lines, circles, polygons, etc they are defined for mathematical registrations. This process allows the alteration of each geometric endidade in an independent way. One of the practical examples consists of transforming a picture in a vectorial image, call this vetorização process. This process loses nuances of the original, becoming less realist. Several software options that use these tools exist. Among them Corel Draw, Marinate Ilustrator, Fireworks (software proprietor) or Inkscape (free software). Everybody possesses several applications. They are frequently used for creation of the stationery of a company than for illustration), based on the original geometric forms
New art
Art nouveau ([aR.nu'vo], of the French new art), called New Art in Portugal, it was an aesthetic style essentially of design and arquitectura that it also influenced the world of the plastic arts. It was related with the movement arts & crafts and that he/she had great prominence during the Belle époque, in the last decades of the century XIX and first decades of the century XX. He/she especially links with to 2nd Industrial Revolution in course in Europe with the exploration of new materials (as the iron and the glass, main elements of the buildings that built second passed the new aesthetics) and the technological progresses in the graphic area, as the technique of the colored lithograph that had great influence in the posters. Due to strong presence of the style in that period, this also received the nickname of modern style (of English, modern style).
The name appeared of a Parisian store (international capital of the movement), call exactly Art nouveau and that sold furniture following the style.
It is characterized by the organic forms, escapism for the Nature, valorização of the handmade work, among others. The movement simbolista also influenced the art nouveau.
It received several names depending on the country in that met: Flower art in England, " Modern Style ", Liberty " or stilo " Floreale " in Italy. The Germans create its own slope of Art Nouveau call Jugendstil.
In Brazil, he/she had fundamental participation in the popularization and accomplishment of the art nouveau Liceu of Arts and Occupations of São Paulo. One of the largest names of that style, in Brazil, is the artísta and designer Eliseu Visconti, pioneer of the design in the Country.
In Portugal, buildings in style new art are particularly common in Aveiro and Caldas of the Queen. In Lisbon, the House - Museum Dr. Anastácio Gonçalves is a good example of the variant Portuguese of the style, as well as in Porto the Café Majestic. In Portugal it was common, more than the architecture, the decoration of facades and interiors with tiles in style new art, as he/she is proven in many buildings of the turning of the centuries XIX and XX.
An aesthetics for the design unlike most of the currents associated to the modernist movement, Art Nouveau was not dominated by the painting. Even the painters more estreitamente related with the style, Toulouse-Lautrec, Pierre Bonnard, Gustav Klimt, created posters and memorable decoration objects. Together with the Arts and Crafts, Art Nouveau was one of the aesthetic styles that prepare the on the way to the modern design.
Art Nouveau modernized the design editorial, the typography and the design of commercial marks; besides standing out for the development of the modern posters. Art Nouveau also revolutionized the fashion design, the use of the fabrics and the furniture, as well as the design of vases and lamparinas Tiffany, glass goods Lalique and you print Liberty.
The colored lithograph became available at the end of the century XIX, facilitating to the designers of the time to work direct in the stone, without the restrictions of the typographic impression, facilitating a freer drawing. That technological progress was a lot of reponsável for the florecimento and diffusion of the poster.
Influence of the Japanese painting Perhaps the main aesthetic influence that inspired the use free from the space graphically went to popularity of the you print Japanese. The Japanese painting valued the space a lot in white of the paper and the precise composition of the figurative elements, besides the movement and graphic texture of the brushstroke. We can notice that direct influence in the composition and drawing, extremely graphs and economic, of Aubrey Beardsley, one of the pioneers of the design (and of the artistic drawing) modern. Besides, the expressividade of the Japanese calligraphy can also have a lot influênciado of Art Nouveau's calligraphy espressiva Art Nouveau's influence Although Art Nouveau is a typical manifestation of the century XIX, they can meet lines of that movement in the posterior graphic design of the century XX. For they demonstrate the continuity of the influence of the style, we can highlight: THE psychedelic style of the years of 1960-70 (to see Milton Glaser). Especially influênciados for Jugendstil.
The typographic family Bookman, the round of Cooper Black and I redraw it of old and ornamented typographies, possible for technological progresses as the fotoletra, fotocomposição and the digital typography.
Although, for a long time, designers educated to the shade of Bauhaus and of the international Style they have criticized Art Nouveau as an aesthetic manifestation excessively ornamental, now it is valued Art Nouveau's historical importance a lot, without belittling its ornamental wealth
The name appeared of a Parisian store (international capital of the movement), call exactly Art nouveau and that sold furniture following the style.
It is characterized by the organic forms, escapism for the Nature, valorização of the handmade work, among others. The movement simbolista also influenced the art nouveau.
It received several names depending on the country in that met: Flower art in England, " Modern Style ", Liberty " or stilo " Floreale " in Italy. The Germans create its own slope of Art Nouveau call Jugendstil.
In Brazil, he/she had fundamental participation in the popularization and accomplishment of the art nouveau Liceu of Arts and Occupations of São Paulo. One of the largest names of that style, in Brazil, is the artísta and designer Eliseu Visconti, pioneer of the design in the Country.
In Portugal, buildings in style new art are particularly common in Aveiro and Caldas of the Queen. In Lisbon, the House - Museum Dr. Anastácio Gonçalves is a good example of the variant Portuguese of the style, as well as in Porto the Café Majestic. In Portugal it was common, more than the architecture, the decoration of facades and interiors with tiles in style new art, as he/she is proven in many buildings of the turning of the centuries XIX and XX.
An aesthetics for the design unlike most of the currents associated to the modernist movement, Art Nouveau was not dominated by the painting. Even the painters more estreitamente related with the style, Toulouse-Lautrec, Pierre Bonnard, Gustav Klimt, created posters and memorable decoration objects. Together with the Arts and Crafts, Art Nouveau was one of the aesthetic styles that prepare the on the way to the modern design.
Art Nouveau modernized the design editorial, the typography and the design of commercial marks; besides standing out for the development of the modern posters. Art Nouveau also revolutionized the fashion design, the use of the fabrics and the furniture, as well as the design of vases and lamparinas Tiffany, glass goods Lalique and you print Liberty.
The colored lithograph became available at the end of the century XIX, facilitating to the designers of the time to work direct in the stone, without the restrictions of the typographic impression, facilitating a freer drawing. That technological progress was a lot of reponsável for the florecimento and diffusion of the poster.
Influence of the Japanese painting Perhaps the main aesthetic influence that inspired the use free from the space graphically went to popularity of the you print Japanese. The Japanese painting valued the space a lot in white of the paper and the precise composition of the figurative elements, besides the movement and graphic texture of the brushstroke. We can notice that direct influence in the composition and drawing, extremely graphs and economic, of Aubrey Beardsley, one of the pioneers of the design (and of the artistic drawing) modern. Besides, the expressividade of the Japanese calligraphy can also have a lot influênciado of Art Nouveau's calligraphy espressiva Art Nouveau's influence Although Art Nouveau is a typical manifestation of the century XIX, they can meet lines of that movement in the posterior graphic design of the century XX. For they demonstrate the continuity of the influence of the style, we can highlight: THE psychedelic style of the years of 1960-70 (to see Milton Glaser). Especially influênciados for Jugendstil.
The typographic family Bookman, the round of Cooper Black and I redraw it of old and ornamented typographies, possible for technological progresses as the fotoletra, fotocomposição and the digital typography.
Although, for a long time, designers educated to the shade of Bauhaus and of the international Style they have criticized Art Nouveau as an aesthetic manifestation excessively ornamental, now it is valued Art Nouveau's historical importance a lot, without belittling its ornamental wealth
Martial arts
The martial arts are systems of practices and traditions for combat training, usually (but not always) without the use of firearms or other modern devices. Its origin made a mistakes with the development of the civilization when, soon after the development of the agricultural technological wave, some begin to accumulate wealth and power, ensejando the appearance of greed, he/she envies, and its corollary one, the aggression. The need opened space for the professionalization of the personal protection. Although the version more acquaintance of the martial art, mainly the oriental history, have as main focus Bodhidharma monk indiano that in trip the china guided the Chinese monks in the practice of the yoga and rudiments of the art martial indiana that it characterized later on in the creation of an own style for the shaolin monks, históricamente it is known, through oral tradition and archaeological excavations that the kung fu already existed in China there is anos.Da more than five thousand China these knowledge if espandiram for almost the whole ásia. Japan and Korea also have tradition milenar in arts marciais.Recentes archaeological discoveries they also show bodyguards, in Mesopotâmia, practicing defense techniques and of aggressors' imobilização. Parallelly, the western world developed other systems, as French Savate, or the Brazilian Capoeira.
Now, people of everyone study martial arts for different reasons as physical conditioning, personal defense, physical coordination, lazer, discipline development, participation in a social group, and structuring of a healthy personality because the practice facilitates the estravasamento of the tension that harmonizes the individual positively focalizando-the.
Martial arts: we have IT martial arts it is a term cidental and Latin referring the war arts and it fights. This termmo came in relation to the god of the guerrra greco-Roman Mars, that is to say the martial arts are the arts in the quel the Deus Marte he/she taught the homen according to the mythology. Today the term martial arts is used for all the systems of combat of oriental and western origin, with or without the use of traditional weapons, term this that is erroneous and to the origin of the fights in the east this very differentiated to the aspects visas of these you practice in the occident. The military or martial arts can determine that are whole you practice them used by the armies in the training development and abilities for the use in wars the origin or people that it created it not mattering. In the east other terms exist more adapted for the definition of these arts as Wu-Shu in China and Bu-Shi-Do in Japan that you/they mean also war arts, or " on the way to the Warrior ". Mutas of these arts of war of the east and occident created current arts that today they are practiced all over the world like Karate, Kung Fu, Tae Kwon Of the, Fence, Arqueirismo, Hipismo etc, and they are differed of the combat sports as the Boxing, Judo, Fights Olympic, because in the sport the competition and the rules prevail because the objective is to see that that marks more points inside of a rule, the modalities that he/she has a more martial origin already have as objective the personal defea in a risk situation without rules, and with the main focus in the formation of the human being character. In Japan these arts are called Bu-Do or " An educational road through the fights ".
In China the arts of fights are classified in two groups: Wu-Shu = arts of war where meets the older traditional styles, that if sub divides in: external Styles = that use the physical force. Former: Shaolin and its divisions. Internal styles = that use the Energia KI. Former: Tai Chi, Ba Gua, Xing Y.
Kuo-Shu = Chinese arts, where he/she meets the most recent and modern styles, a lot of these adapted the competition.
In Japan the arts of the they fight they also divide in two groups: Bushi-Do = arts of the war. Former. Ju Jitsu (tradicioanl) Ken jutsu, I Oh Jutsu, Nihon Kobudo etc. Bu-Do = current Arts many with origin in Bushi-Do and another that amntiveram-if from the antiquity. Former: Karate, Judo, Aikido, kendo, Kyu Of the etc.
Classification of the fight styles: Traditional Styles: they are those that you maintain the original lines and that are transmitted in geração.EX of generation: Ken Jutsu, Okinawa Kobudo, Karate-Do. Modern styles: they are those that were created starting from the old masters' experiences but adapted to the current world using the tradition in the days of hoje.EX: Judo, Karate-Do. Styles Sinteticos:são those that if formarama leaves of the union of several fight styles: FORMER: kick boxing (Boxing + Karate+ Taekwondo).
In the Occident the fights are only vinciuladas to fight systems and personal defense to the I thwart of the east that possesses a philosophical system based in cranças and religions that prepare the physical apprentice and spiritually. the western styles of fight can mention: Savate, Kick Boxing, Boxing, Fights Free, Capoeira, Fencing, I Dance the samba, Krav Maga, and other more recent servants of the mixture with oriental fight systems.
Now, people of everyone study martial arts for different reasons as physical conditioning, personal defense, physical coordination, lazer, discipline development, participation in a social group, and structuring of a healthy personality because the practice facilitates the estravasamento of the tension that harmonizes the individual positively focalizando-the.
Martial arts: we have IT martial arts it is a term cidental and Latin referring the war arts and it fights. This termmo came in relation to the god of the guerrra greco-Roman Mars, that is to say the martial arts are the arts in the quel the Deus Marte he/she taught the homen according to the mythology. Today the term martial arts is used for all the systems of combat of oriental and western origin, with or without the use of traditional weapons, term this that is erroneous and to the origin of the fights in the east this very differentiated to the aspects visas of these you practice in the occident. The military or martial arts can determine that are whole you practice them used by the armies in the training development and abilities for the use in wars the origin or people that it created it not mattering. In the east other terms exist more adapted for the definition of these arts as Wu-Shu in China and Bu-Shi-Do in Japan that you/they mean also war arts, or " on the way to the Warrior ". Mutas of these arts of war of the east and occident created current arts that today they are practiced all over the world like Karate, Kung Fu, Tae Kwon Of the, Fence, Arqueirismo, Hipismo etc, and they are differed of the combat sports as the Boxing, Judo, Fights Olympic, because in the sport the competition and the rules prevail because the objective is to see that that marks more points inside of a rule, the modalities that he/she has a more martial origin already have as objective the personal defea in a risk situation without rules, and with the main focus in the formation of the human being character. In Japan these arts are called Bu-Do or " An educational road through the fights ".
In China the arts of fights are classified in two groups: Wu-Shu = arts of war where meets the older traditional styles, that if sub divides in: external Styles = that use the physical force. Former: Shaolin and its divisions. Internal styles = that use the Energia KI. Former: Tai Chi, Ba Gua, Xing Y.
Kuo-Shu = Chinese arts, where he/she meets the most recent and modern styles, a lot of these adapted the competition.
In Japan the arts of the they fight they also divide in two groups: Bushi-Do = arts of the war. Former. Ju Jitsu (tradicioanl) Ken jutsu, I Oh Jutsu, Nihon Kobudo etc. Bu-Do = current Arts many with origin in Bushi-Do and another that amntiveram-if from the antiquity. Former: Karate, Judo, Aikido, kendo, Kyu Of the etc.
Classification of the fight styles: Traditional Styles: they are those that you maintain the original lines and that are transmitted in geração.EX of generation: Ken Jutsu, Okinawa Kobudo, Karate-Do. Modern styles: they are those that were created starting from the old masters' experiences but adapted to the current world using the tradition in the days of hoje.EX: Judo, Karate-Do. Styles Sinteticos:são those that if formarama leaves of the union of several fight styles: FORMER: kick boxing (Boxing + Karate+ Taekwondo).
In the Occident the fights are only vinciuladas to fight systems and personal defense to the I thwart of the east that possesses a philosophical system based in cranças and religions that prepare the physical apprentice and spiritually. the western styles of fight can mention: Savate, Kick Boxing, Boxing, Fights Free, Capoeira, Fencing, I Dance the samba, Krav Maga, and other more recent servants of the mixture with oriental fight systems.
Modern art
Modern art is the generic term used to designate most of the artistic production of the end of the Century XIX to middles of the years 1970 (although there is not consent on those dates), while the most recent production of the art is frequently called contemporary art (some prefer to call of powder-modern art). The modern art refers to a new abordagem of the art in one moment in which not more it was important that she represented a subject or object literally (through the painting and of the sculpture)--the coming of the picture did with that there was a drastic decrease in the demand for certain traditional artistic ways, the painting especially. Instead of that, and it is there that the idea of modern begins to take form, the artists start to try new visions, through unpublished ideas about the nature, the materials and the functions of the art, and frequently walking in direction to the abstraction.
The notion of modern art is estreitamente related with the modernism.
During the first decades, the modern art was a fenómeno exclusively European. The first seeds of modern ideas in the art came from the artists that worked in the romantic and the realists' movements. Soon after, representatives of the impressionism and powder-impressionism tried beginning with the new ways of representing the light and the space through the color and of the painting. In the years pré-i World War of the century XX, a creative explosion happened with fauvismo, cubism, expressionism and futurism.
I World War brought an end to this phase, but it indicated the beginning of a number of movements anti-art, as given and Marcel Duchamp's work, and of the surrealismo. Also, the artists' groups as of Stijl and Bauhaus they were seminal in the development of new ideas on the interrelação of the arts, of the architecture, of the project and of the instruction of the art.
Modern art was introduced in America during to I World War when a number of artists of Montmartre and Montparnasse neighborhoods of Paris, France escaped from the war. Francis Picabia (1879–1953), it was the responsible of bringing the Modern Art for the city of New York. It only went after to II World War, although, that the USA changed the focal point of new artistic movements. The decades of 1950 and 1960 saw to emerge the expressionism abstract, pop art, op art and minimum art; Between 1960 and 1970, art of the earth, art of the acting, conceptual art and Fotorealismo emerged.
In lathe of that period, a number artists and of architects they began to reject the idea of " the modern " and it created powder-modern works typically.
Leaving of the period postwar, few artists used painting as its preliminary middle.
The notion of modern art is estreitamente related with the modernism.
During the first decades, the modern art was a fenómeno exclusively European. The first seeds of modern ideas in the art came from the artists that worked in the romantic and the realists' movements. Soon after, representatives of the impressionism and powder-impressionism tried beginning with the new ways of representing the light and the space through the color and of the painting. In the years pré-i World War of the century XX, a creative explosion happened with fauvismo, cubism, expressionism and futurism.
I World War brought an end to this phase, but it indicated the beginning of a number of movements anti-art, as given and Marcel Duchamp's work, and of the surrealismo. Also, the artists' groups as of Stijl and Bauhaus they were seminal in the development of new ideas on the interrelação of the arts, of the architecture, of the project and of the instruction of the art.
Modern art was introduced in America during to I World War when a number of artists of Montmartre and Montparnasse neighborhoods of Paris, France escaped from the war. Francis Picabia (1879–1953), it was the responsible of bringing the Modern Art for the city of New York. It only went after to II World War, although, that the USA changed the focal point of new artistic movements. The decades of 1950 and 1960 saw to emerge the expressionism abstract, pop art, op art and minimum art; Between 1960 and 1970, art of the earth, art of the acting, conceptual art and Fotorealismo emerged.
In lathe of that period, a number artists and of architects they began to reject the idea of " the modern " and it created powder-modern works typically.
Leaving of the period postwar, few artists used painting as its preliminary middle.
Art rupestre
Art rupestre, painting rupestre or still gravura rupestre, is the name that gives him to the oldest known pictorial representations, many dated of the period Paleolítico (100.000-10.000 a.C.) recorded in shelters or caves, in its walls and rocky roofs, or also in rocky surfaces outdoors, but in protected places, usually dating of prehistoric times. The History is as old as the man. He/she is the man, from its aparecimento in the earth, it elaborated its History, in which you/they had room the Art and the conservation spirit of that that needed. Archaeological studies demonstrate that the man of the pré history (the phase of the History that precedes the writing) it already conserved, besides ceramic, weapons and utensils worked in the stone, in the bones of the animals that abated and in the metal. Archaeologists and anthropologists dating and studying extracted pieces in excavations checks to its vestiges real value as " documents historical ", true testimonies of the man's life in remote times and of extinct cultures.
Archaeological searches accomplished in Europe, Asia and Africa, among other, reveal in that middle to the primitive men hunters the first artists appeared, that painted, they sculpted and they recorded, demonstrating that the expression desire through the arts is inherent to the human being. The color in the painting was already known by the Man of Nandertal. " Vênus Esteatopígicas ", sculptures in stone or ivory of stylized feminine illustrations, with very accentuated forms, are artistic manifestations of the most primitive of " Homo Sapiens " (Paleolítico Superior, beginning 40000a.C) and that demonstrate its capacity to symbolize. To these sculptures it is attributed a felt magic, propitiatory of the feminine fertility.
It is not less notable the development of the painting in the same time. Found in the roofs and walls of the dark grottos, discovered by chance, placed in funds of caves. They are vibrant paintings accomplished in policromia that cause great impression, with the firm determination of imitating the nature with the maximum of realism, starting from observations made during hunted it. In the grotto Altamira (the call Capela Sixtina of the Prehistory), in Spain, the painting rupreste of the bisonte impresses for the size and for the volume gotten with the technique clear-darkness. In other local ones and in other grottos, paintings that impress for the realism. In some, vital points of the animal marked by arrows. For some, " the propitiatory " magic destined to guarantee the hunter's success. For other studious ones, it was the will of producing art.
Any that is the vindicative, the art preserved per millennia allowed that the prehistoric grottos if they constituted in the humanity's first museums.
The Arte Rupestre is a way to represent the Primitive Art. It is believed that these paintings, whose used materials are the blood, clay and human excrements, have a stamp ritualístico. He/she is considered that this art has begun in the Período Aurignaciano (Hohle Fels, Germany), reaching its acme in the end of the Período Magdaleniano of Paleolítico.
An alternative and more modern theory with relationship to the objectivo of these paintings, based on studies of more recent societies of hunter-collectors, is that the paintings were made by chamãs of the group of Cro-Magnon.
The chamãs would leave for the darkness of the caves, they would enter in state of he/she understands one another and they would paint, then, images of its visions, perhaps with some intention of extracting force of the walls of the cave for themselves. That favors the explanation on the antiquity of some paintings (that frequently happen in deep and small caves) and the variety of the reasons (of prey animals the predadores and drawings of human hands).
The drawings are usually formed by illustrations of great wild animals, as bisões, horses, deer among others. The human illustration rarely appears, suggesting a lot of times actividades as the dance and, mainly, the hunt, but usually in schematic drawings and not in a naturalistic way, as it happens with the one of the animals. Parallelly they also meet palms of human hands and abstract reasons (entangled lines), called by Breuill of pastas.
In the ranches spread by the world, it is standard to find, besides the parietal drawings, illustrations and ornamental objects cut in bone, modeled in clay, stone or horns of animals.
The Arte Rupestre is a way to represent the Primitive Art. It is believed that these paintings, whose used materials are the blood, clay and human excrements, have a stamp ritualístico. He/she is considered that this art has begun in the Período Aurignaciano (Hohle Fels, Germany), reaching its acme in the end of the Período Magdaleniano of Paleolítico.
An alternative and more modern theory with relationship to the objectivo of these paintings, based on studies of more recent societies of hunter-collectors, is that the paintings were made by chamãs of the group of Cro-Magnon.
The chamãs would leave for the darkness of the caves, they would enter in state of he/she understands one another and they would paint, then, images of its visions, perhaps with some intention of extracting force of the walls of the cave for themselves. That favors the explanation on the antiquity of some paintings (that frequently happen in deep and small caves) and the variety of the reasons (of prey animals the predadores and drawings of human hands).
The drawings are usually formed by illustrations of great wild animals, as bisões, horses, deer among others. The human illustration rarely appears, suggesting a lot of times actividades as the dance and, mainly, the hunt, but usually in schematic drawings and not in a naturalistic way, as it happens with the one of the animals. Parallelly they also meet palms of human hands and abstract reasons (entangled lines), called by Breuill of pastas.
In the ranches spread by the world, it is standard to find, besides the parietal drawings, illustrations and ornamental objects cut in bone, modeled in clay, stone or horns of animals.
When the Europeans found the paintings of Magdalenia of the cave of Altamira for the first time, in Cantábria, Spain, around 150 years, they were considered as fraud for academic.
The new thought darviniano about the evolution of the species was interpreted as meaning that the primitive humans have been advance sufficiently to create art.
Émile Cartailhac, one of the more respected historians of the Prehistory of the end of the century XIX, believed that the paintings had been forged by the creacionistas to support its ideas and to ridicule Darwin. Recent reavaliações and the growing number of discoveries have been illustrating the authenticity of the found illustrations and they indicate the high level of capacity of the humans' of Superior Paleolítico art, that just used basic tools. The paintings rupestres can provide, also, valuable tracks with relationship to the culture and the faiths of that time.
However, the age of the paintings stays, in many archaeological ranches, a subject controvertida, since methods as the datação for radioactive carbon easily can take it resulted erroneous for the contamination of samples of material older or newer, and that the caves and rocky surfaces are typically atulhadas with residues of several times.
The choice of the datação for the underlying material can indicate the date, for example, of the reindeer in the denominated Spanish cave las Cueva Monedas, that was determined as being of the period of the last glaciação. The oldest cave is the one of Chauvet, with 32.000 years.
However, as it happens with the whole prehistory, it is impossible to be I am held of that hypothesis due to the relative lack of material evidence and the several lacunas associated with the attempt of understanding thinking prehistoric applying the way to ratiocinate of the modern man. The most well-known and studied ranches meet in Europe, above all France and in the north of Spain, in the franc-Cantabrian denominated area; in Portugal, in Italy and in Sicily; Germany; Balcãs and Roménia. In the north Mediterranean of Africa; in Australia and Sibéria they are well-known thousands of places, even so not so studied, as it is the case of Brazil. In 2003, paintings rupestres was also discovered in Creswell Crags, Nottinghamshire, England.
Portugal In Portugal is known more than three hundred places of art rupestre, standing out the complex of the it is worth of the river Côa, one of the oldest outdoors, the grotto of Escoural, fundamental in the study of Cro-Magnon and Neandertal, and Mazouco.
More well-known ranches The most well-known and studied ranches meet in Europe, above all France and in the north of Spain, in the franc-Cantabrian denominated area; in Portugal, in Italy and in Sicily; Germany; Balcãs and Roménia. In the north Mediterranean of Africa; in Australia and Sibéria they are well-known thousands of places, even so not so studied, as it is the case of Brazil. In 2003, paintings rupestres was also discovered in Creswell Crags, Nottinghamshire, England.
Portugal In Portugal is known more than three hundred places of art rupestre, standing out the complex of the it is worth of the river Côa, one of the oldest outdoors, the grotto of Escoural, fundamental in the study of Cro-Magnon and Neandertal, and Mazouco.
Brazil In Brazil is found several archipelagos where manifestations of art rupestre exist. The more acquaintances are in Naspolini, in the Estado Santa Catarina, in the Southeast area of the country. In Minas Gerais in Lagoa Saint area and Varzelândia. They stand out he/she also Plays it of the Hope, central area of Bahia and Florianópolis, State of Santa Catarina, in the south. In the northeast they were also found paintings in the State of Piauí, in the Mountain of Capivara. The closest cities of the archaeological ranches are Colonel José Dias and São Raimundo Nonato (30 km).
Second information of " FUMDHAM ", Fundação Museu of the American Man, of São Raimundo Nonato, there are 260 archaeological ranches with paintings rupestres in the area of the National Park of the Mountain of Capivara, that was created in 1979.
In agreement with not confirmed information, the paintings rupestres of the mentioned ranches would have age between 10.000 and 12.000 years, even so more recent studies date 50.000 years
Archaeological searches accomplished in Europe, Asia and Africa, among other, reveal in that middle to the primitive men hunters the first artists appeared, that painted, they sculpted and they recorded, demonstrating that the expression desire through the arts is inherent to the human being. The color in the painting was already known by the Man of Nandertal. " Vênus Esteatopígicas ", sculptures in stone or ivory of stylized feminine illustrations, with very accentuated forms, are artistic manifestations of the most primitive of " Homo Sapiens " (Paleolítico Superior, beginning 40000a.C) and that demonstrate its capacity to symbolize. To these sculptures it is attributed a felt magic, propitiatory of the feminine fertility.
It is not less notable the development of the painting in the same time. Found in the roofs and walls of the dark grottos, discovered by chance, placed in funds of caves. They are vibrant paintings accomplished in policromia that cause great impression, with the firm determination of imitating the nature with the maximum of realism, starting from observations made during hunted it. In the grotto Altamira (the call Capela Sixtina of the Prehistory), in Spain, the painting rupreste of the bisonte impresses for the size and for the volume gotten with the technique clear-darkness. In other local ones and in other grottos, paintings that impress for the realism. In some, vital points of the animal marked by arrows. For some, " the propitiatory " magic destined to guarantee the hunter's success. For other studious ones, it was the will of producing art.
Any that is the vindicative, the art preserved per millennia allowed that the prehistoric grottos if they constituted in the humanity's first museums.
The Arte Rupestre is a way to represent the Primitive Art. It is believed that these paintings, whose used materials are the blood, clay and human excrements, have a stamp ritualístico. He/she is considered that this art has begun in the Período Aurignaciano (Hohle Fels, Germany), reaching its acme in the end of the Período Magdaleniano of Paleolítico.
An alternative and more modern theory with relationship to the objectivo of these paintings, based on studies of more recent societies of hunter-collectors, is that the paintings were made by chamãs of the group of Cro-Magnon.
The chamãs would leave for the darkness of the caves, they would enter in state of he/she understands one another and they would paint, then, images of its visions, perhaps with some intention of extracting force of the walls of the cave for themselves. That favors the explanation on the antiquity of some paintings (that frequently happen in deep and small caves) and the variety of the reasons (of prey animals the predadores and drawings of human hands).
The drawings are usually formed by illustrations of great wild animals, as bisões, horses, deer among others. The human illustration rarely appears, suggesting a lot of times actividades as the dance and, mainly, the hunt, but usually in schematic drawings and not in a naturalistic way, as it happens with the one of the animals. Parallelly they also meet palms of human hands and abstract reasons (entangled lines), called by Breuill of pastas.
In the ranches spread by the world, it is standard to find, besides the parietal drawings, illustrations and ornamental objects cut in bone, modeled in clay, stone or horns of animals.
The Arte Rupestre is a way to represent the Primitive Art. It is believed that these paintings, whose used materials are the blood, clay and human excrements, have a stamp ritualístico. He/she is considered that this art has begun in the Período Aurignaciano (Hohle Fels, Germany), reaching its acme in the end of the Período Magdaleniano of Paleolítico.
An alternative and more modern theory with relationship to the objectivo of these paintings, based on studies of more recent societies of hunter-collectors, is that the paintings were made by chamãs of the group of Cro-Magnon.
The chamãs would leave for the darkness of the caves, they would enter in state of he/she understands one another and they would paint, then, images of its visions, perhaps with some intention of extracting force of the walls of the cave for themselves. That favors the explanation on the antiquity of some paintings (that frequently happen in deep and small caves) and the variety of the reasons (of prey animals the predadores and drawings of human hands).
The drawings are usually formed by illustrations of great wild animals, as bisões, horses, deer among others. The human illustration rarely appears, suggesting a lot of times actividades as the dance and, mainly, the hunt, but usually in schematic drawings and not in a naturalistic way, as it happens with the one of the animals. Parallelly they also meet palms of human hands and abstract reasons (entangled lines), called by Breuill of pastas.
In the ranches spread by the world, it is standard to find, besides the parietal drawings, illustrations and ornamental objects cut in bone, modeled in clay, stone or horns of animals.
When the Europeans found the paintings of Magdalenia of the cave of Altamira for the first time, in Cantábria, Spain, around 150 years, they were considered as fraud for academic.
The new thought darviniano about the evolution of the species was interpreted as meaning that the primitive humans have been advance sufficiently to create art.
Émile Cartailhac, one of the more respected historians of the Prehistory of the end of the century XIX, believed that the paintings had been forged by the creacionistas to support its ideas and to ridicule Darwin. Recent reavaliações and the growing number of discoveries have been illustrating the authenticity of the found illustrations and they indicate the high level of capacity of the humans' of Superior Paleolítico art, that just used basic tools. The paintings rupestres can provide, also, valuable tracks with relationship to the culture and the faiths of that time.
However, the age of the paintings stays, in many archaeological ranches, a subject controvertida, since methods as the datação for radioactive carbon easily can take it resulted erroneous for the contamination of samples of material older or newer, and that the caves and rocky surfaces are typically atulhadas with residues of several times.
The choice of the datação for the underlying material can indicate the date, for example, of the reindeer in the denominated Spanish cave las Cueva Monedas, that was determined as being of the period of the last glaciação. The oldest cave is the one of Chauvet, with 32.000 years.
However, as it happens with the whole prehistory, it is impossible to be I am held of that hypothesis due to the relative lack of material evidence and the several lacunas associated with the attempt of understanding thinking prehistoric applying the way to ratiocinate of the modern man. The most well-known and studied ranches meet in Europe, above all France and in the north of Spain, in the franc-Cantabrian denominated area; in Portugal, in Italy and in Sicily; Germany; Balcãs and Roménia. In the north Mediterranean of Africa; in Australia and Sibéria they are well-known thousands of places, even so not so studied, as it is the case of Brazil. In 2003, paintings rupestres was also discovered in Creswell Crags, Nottinghamshire, England.
Portugal In Portugal is known more than three hundred places of art rupestre, standing out the complex of the it is worth of the river Côa, one of the oldest outdoors, the grotto of Escoural, fundamental in the study of Cro-Magnon and Neandertal, and Mazouco.
More well-known ranches The most well-known and studied ranches meet in Europe, above all France and in the north of Spain, in the franc-Cantabrian denominated area; in Portugal, in Italy and in Sicily; Germany; Balcãs and Roménia. In the north Mediterranean of Africa; in Australia and Sibéria they are well-known thousands of places, even so not so studied, as it is the case of Brazil. In 2003, paintings rupestres was also discovered in Creswell Crags, Nottinghamshire, England.
Portugal In Portugal is known more than three hundred places of art rupestre, standing out the complex of the it is worth of the river Côa, one of the oldest outdoors, the grotto of Escoural, fundamental in the study of Cro-Magnon and Neandertal, and Mazouco.
Brazil In Brazil is found several archipelagos where manifestations of art rupestre exist. The more acquaintances are in Naspolini, in the Estado Santa Catarina, in the Southeast area of the country. In Minas Gerais in Lagoa Saint area and Varzelândia. They stand out he/she also Plays it of the Hope, central area of Bahia and Florianópolis, State of Santa Catarina, in the south. In the northeast they were also found paintings in the State of Piauí, in the Mountain of Capivara. The closest cities of the archaeological ranches are Colonel José Dias and São Raimundo Nonato (30 km).
Second information of " FUMDHAM ", Fundação Museu of the American Man, of São Raimundo Nonato, there are 260 archaeological ranches with paintings rupestres in the area of the National Park of the Mountain of Capivara, that was created in 1979.
In agreement with not confirmed information, the paintings rupestres of the mentioned ranches would have age between 10.000 and 12.000 years, even so more recent studies date 50.000 years
Abstract art
The abstract art is generally understood as an art form (especially in the visual arts) that doesn't represent own objects of our external concrete reality. Instead of that, it uses the formal relationships among colors, lines and surfaces to compose the reality of the work, of a way " non representacional ". The expression can also be used to refer specifically to the art produced in the beginning of the century XX for certain movements and schools that genericamente is inserted in the modern art.
In the beginning of the century XX, before the artists reached the absolute abstraction, the term was also used to refer the schools as the Cubism and the Futurism that, although they were representative and figurative, they looked for to synthesize the elements of the natural reality, resulting in works that escaped to the simple imitation from that that was " concrete ".
Abstraccionismo divides in two tendencies: Lyrical Abstraccionismo Geometric Abstraccionismo Lyrical Abstraccionismo or Expressive Abstraccionismo were inspired by the instinct, in the unconscious and in the intuition to build an imaginary art linked to a " interior " need; having been influenced by the Expressionism, more properly in he/she Gives it Blaue Reiter. He/she appears as reacção to the great revolutions of the century, nomeadamete to I World War.
The game in organic ways and the vibrant colors were very patent; but the contour line also stood out sharply not in this art figurative.
It sought an approach to the music, where the expressividade of the sounds became artistic language. It is this way that Lyrical Abstraccionismo intends to equal or same to overcome the music, transforming color stains and lines in ideas and symbolisms subjectivos.
Wassily Kandinsky was the mentor of this género, using pure colors in fast, tense and violent brushstrokes.
Geometric Abstraccionismo, unlike Lyrical Abstraccionismo, seal him in the rationalization that depends on the intellectual and scientific analysis. It was influenced by the Cubism and for the Futurism. Geometric Abstraccionismo divides in two currents: Suprematismo in Rússia Neoplasticismo in Holland In Brazil, the abstracionismo had its first expressions in the decade of 40. Among the most important artists they stand out Abraão Palatnik, Ivan Serpa, Luiz Sacilotto, Antônio Bandeira and Manabu Mabe
In the beginning of the century XX, before the artists reached the absolute abstraction, the term was also used to refer the schools as the Cubism and the Futurism that, although they were representative and figurative, they looked for to synthesize the elements of the natural reality, resulting in works that escaped to the simple imitation from that that was " concrete ".
Abstraccionismo divides in two tendencies: Lyrical Abstraccionismo Geometric Abstraccionismo Lyrical Abstraccionismo or Expressive Abstraccionismo were inspired by the instinct, in the unconscious and in the intuition to build an imaginary art linked to a " interior " need; having been influenced by the Expressionism, more properly in he/she Gives it Blaue Reiter. He/she appears as reacção to the great revolutions of the century, nomeadamete to I World War.
The game in organic ways and the vibrant colors were very patent; but the contour line also stood out sharply not in this art figurative.
It sought an approach to the music, where the expressividade of the sounds became artistic language. It is this way that Lyrical Abstraccionismo intends to equal or same to overcome the music, transforming color stains and lines in ideas and symbolisms subjectivos.
Wassily Kandinsky was the mentor of this género, using pure colors in fast, tense and violent brushstrokes.
Geometric Abstraccionismo, unlike Lyrical Abstraccionismo, seal him in the rationalization that depends on the intellectual and scientific analysis. It was influenced by the Cubism and for the Futurism. Geometric Abstraccionismo divides in two currents: Suprematismo in Rússia Neoplasticismo in Holland In Brazil, the abstracionismo had its first expressions in the decade of 40. Among the most important artists they stand out Abraão Palatnik, Ivan Serpa, Luiz Sacilotto, Antônio Bandeira and Manabu Mabe
Russian Construtivismo
Russian Construtivismo was an aesthetic-political movement that began in the Russia apartir of 1914, as part of the context of the vanguard movements in the country and it is a term used even today. He denied a " pure " art, he/she tried to abolish the idea that the art is a special element of the human creation, separate from the daily world. She should serve social objectives, the construction of a socialist world. The term art construtivista was introduced for the first time by Malevich to describe the work of Rodchenko in 1917.
It was characterized, in a quite generic way, for the constant use of geometry, primary colors, fotomontagem and the typography without serifa.
Construtivismo had deep influence in the modern art and in the modern design and it is inserted in the context of the vanguards aesthetic Europeans of the beginning of the Century XX. Manifestations influênciadas is considered by Construtivismo the one Of Stijl, Bauhaus, Suprematismo (as well as great part of the Russian vanguard).
Of the point of view of the plastic arts, using a wider meaning of the word, the whole geometric abstract art of the period (decades of 1920, 30 and 40) it can be called construtivista grossly (what includes the artistic experiences in Bauhaus, Neoplasticismo and other similar movements). Social subject, politics and historical context (Russia, first thirty years of the century XX) “A constructive art that it doesn't decorate, but it organizes the life”–Lissitski, 1922 Until the appearance of the construtivismo, any movement in the evolution of the modern art had been an expression so inserted in a concrete revolutionary reality, or it had placed so explicitamente the social function of the art as a political subject. The construtivismo was an expression with Marxist ideologies and it was intimately linked to a revolutionary communist organism. In its pulp, the construtivismo had the conviction that the artist could contribute to supply the physical and intellectual needs of the society as a whole, linking directly with the production of machines, with the architectural engineering and with the graphic and photographic means of communication. The art becomes I orchestrate of social transformation, it participates in the reconstruction in the life way and of the “revolucionarização” of the conscience of the people, he/she wants to satisfy the material needs and to organize and to systematize the feelings of the revolutionary proletariat - eis the objective: not the political art, but the socialização of the art. Starting from 1915, Suprematismo of Malevitch and Construtivismo of Tatlin (1885-1953) they are the two great currents of the Russian art; both they interfere in the vast movement of the ideological and revolutionary vanguard, led by Maiakovski and officially sustained by the commissary for the government's of Lênin instruction, Lunacharsky. The “Realistic Manifesto”, written by Naum I Flatter and signed by its brother Antoine Pevsner, it defined the limits and possibilities of the clearly art-no figurative and it thwarted the metaphysical ideas of Malevitch. Considered the first construtivista, the “Realistic Manifesto” it was afixado in the walls of Moscow during the first he/she lifts of political revolution amid the civil war and he/she had, therefore, great repercussion. Starting from him, many manifestos of antagonistic, different currents, even so, that they also looked for that social subject, they were announced. With the appearance of NEP in 1921, the New Economic Politics of Lênin, the usefulness of the construtivismo became questioned seriously. It is soon after, with its death and the fall of Lunacharsky, the new bureaucracy stalinista reduced the art to an instrument of political propaganda and of cultural popularization. The vanguard was disapproven and repressed; the old academy, revalued. Starting from 1930 approximately, the painting, the architecture and the sculpture of the Soviet Union became similar in everything, except in the thematic, to the painting, to the sculpture and the official of the Italian fascism architecture and of the nazismo alemão.aa Dialogues and influences Observing the antecedents and preliminaries of the construtivismo now, it can be affirmed that, in synthesis, the initial experiences of the modern painting, verified in the period that is going from the first half of the century 19, with the romantismo and the realism, even Cézanne (1839-1906) and the cubism, in the beginning of the century 20, they proceed to the breakup of the system renascentista and they sketch new paradigms.
At the beginning, it is necessary to repair to the work of Cézanne, that, for the construtivismo, it has been meaning strategic because, Tarabukin says, it is " starting from Cézanne that the painter begins to throw all its attention on the structure material Real of the screen.” It can understand each other, in the case, such structure as the specific ordering of the materials Real of the painting, is worth to say, the color, the texture, the brushstroke and its organization. It is in the work of Cézanne, that, for besides the dimension representacional, the structure of the painting will win prominence, coming explicit and with determination, for its observer, as focus of attention incontornável.
Some progresses that the cubism introduces, in a new pictorial economy: purification in the processual way of its subjective extraction, present in Cézanne, to turn it, with relationship to its origin, impersonal and abstract such a module or machine engagement and radicalização of the processual dimension of the art. On the other hand, one of the basic characteristics of the century XX went the victory of to abstraction on the mimese, a victory based on the prestige that the reason and the science possessed at the beginning of the century. The new abstraction degree consisted of the introduction of the time in the science–and the cubism explored this new vision of a noticed reality in a dynamic and simultaneous way starting from several point of view.
The construtivistas learns with the Italian futurists a new form of diffusion of the thought, the manifesto, and they are used of him to expose its ideas and concepts. Besides, the aesthetics, the ideário and the futurist objects will be appropriate and transformed by the construtivismo. Trotski considers that " the futurism is a European phenomenon that wakes up interest because, among other reasons, he/she didn't close, unlike what he/she affirms the Russian formal school, in the limits of the art, but, since the beginning, he/she linked to the political and social events, above all in Italy ". Malevitch says that “THE cubism and the futurism, revolutionary artistic forms, were the prenúncios of the political and economic Revolution of 1917 ".
Of that form, Cubism and Futurism they were known quickly and assimilated in Russia, where a group of artists, born of the combination of the two (desconstrução of the space and of the cubist and thematic of the city object, of the movement and of the futurist speed), it was denominated even of cubofuturistas.
Some authors separate Construtivismo of Produtivismo, doing a second phase of the first of this (starting from the superação of the composition for the construction and of the primacy of the utilitarismo), while others place the produtivismo as characteristic of the construtivismo.
The conceptions construtivistas and suprematistas coincide in many aspects, mainly in the fact of both they want to be materialistic and concrete. Even so the suprematismo, as well as Western Construtivismo, alleges the geometry as model contemplativo, of abstract language, starting from having presupposed idealists or mystics. In synthesis, he/she gives him, in this threshold, the superação of the dimension representacional of the art and the postulação of an object with value in itself, that is, whose connections are put in him own and not in some external instance. Malevich denominates this again in the pictorial realism. It is forged a new notion of realism there, entirely different from that frank one, derived of the naturalismo.
In the capitalist Occident, with possible exception of the dadaístas, that you/they work the reception of its works previously, the moment of the production be disentailed of the reception or of the consumption–unlike what it happens in Construtivismo. Authors O. Hahn and M. A. Prat gets to propose the breakup “of the apparent contradiction between dadaísmo and construtivismo.” Hahn saw in I Flatter and Pevsner the origin of the movement.
He/she identifies correntemente the construtivismo with succedaneums Westerners of same denomination: certain products of German Bauhaus and the Dutch neoplasticismo, for example. It is right that all these groups were unfolded, according to varied degrees, starting from echoes of the Russian construtivismo, but, to rigidity, them not very he/she has to do with the beginnings and objectives originals of the Russian construtivismo. They are authors solemnity-exiles as I Flatter and Pevsner, that diverge of the construtivismo, and, without forgetting of other, like Kandinski and Chagall, that construtivistas was never said - but, that, being emigrated Russian and having circulated in the artistic ways of then, they didn't operate to undo the confusion–that contributed, in several ways, so that if it established a contrafação of the movement, capable, in the case, of being conjugated to the capitalism. One should not also forget, in this imbróglio, the paper of the Cold War, that it seconded the operation, begun by the stalinismo, of apagamento of the origins and guidelines of the construtivismo. A retarded construtivismo originated in Rio de Janeiro and in São Paulo under the denomination of Concretismo, soon proceeded by Neo-concretismo, in the decade of 1950.
Movies “Para you, the movies is a show. For me, it is almost a middle of understanding the world.” –Maiakovski, 1922 THE speech construtivista, in highest, recognizes the movies as essential to its ideal (as industrial art, mechanics, anonymous, linked the society and the world Real - filming the existent things and destined to the masses) and it points at that time for the superação of the apprenticeship of the cinematography and of the ideological and aesthetic bad-use of the movies.
But the thought on the movies is late, same among intellectuals of the vanguard–many didn't consider it an art, just a technical apparel; other they saw it as inferior to the theater and the literature for just to reproduce images of the real world, and not to create them. The first ones, later, will support Vertov and Schub, while the seconds will give preference Eisenstein.
The futurism and the construtivismo, in Russia, appear in the movies at first timidly in films with traditional language, be in the insistence in mechanical objects or in the aesthetics of the sceneries and models. As soon as the semantics of the assembly passes for the first plan it is that can be spoken in movies construtivista and soon different abordagem strategies will appear with relationship to the paper of the movies and the film type demanded by the situation. For Dziga Vertov, “the future of the art cinematográfica is the denial of its present” (the old films romanceados and the given space the “intruders” as the music, the literature and the theater). Its movies, a so much futurist, has as object the movement of the things (more specifically, its rhythm) and she leans on in you/he/she refuses it of the psychological and in the exaltation of the machine. By means of the organization, of the construction of the material registered by the assembly–that should not manipulate the material, but to reveal it, to turn it readable, intelligible -, the movies (machine) it will develop heading for the cinematography (constructive vision of the world). With base in the films of Vertov, Gan will do of the movies, in its theoretical writings, the middle of expression construtivista par excellence–understanding the mechanism of the life and standing back of the art for half the representation of the Real (without actors' use, or without encenação).
Sergei Eisenstein will bring, already of the theater, the influence plástica/estética construtivista and its first two films, THE strike and THE encouraçado Potemkin (1924-5), they bring the marks of the constructions scenic construtivistas and of the demanded lineal plastic organization, for example, by Rodchenko. Even so, those are the most superficial aspects of its filiation to the problematic construtivista. Of its studies it will result its theory of the assembly that, in way different from the one of Vertov, it establishes the significant articulation in the movies (the “intervals” among the plans) as an understanding of the social function of the film. Thus, its two following films will found a new movies, called “intellectual.” Eisenstein presents, then, most of the lines of the construtivismo: besides the linearismo of its constructions and its original conception of the assembly, he works the paper and the sense of the objects, it integrates the writing into the image, it uses the architecture as social model and he/she answers vigorously to the notion of social indent.
It was characterized, in a quite generic way, for the constant use of geometry, primary colors, fotomontagem and the typography without serifa.
Construtivismo had deep influence in the modern art and in the modern design and it is inserted in the context of the vanguards aesthetic Europeans of the beginning of the Century XX. Manifestations influênciadas is considered by Construtivismo the one Of Stijl, Bauhaus, Suprematismo (as well as great part of the Russian vanguard).
Of the point of view of the plastic arts, using a wider meaning of the word, the whole geometric abstract art of the period (decades of 1920, 30 and 40) it can be called construtivista grossly (what includes the artistic experiences in Bauhaus, Neoplasticismo and other similar movements). Social subject, politics and historical context (Russia, first thirty years of the century XX) “A constructive art that it doesn't decorate, but it organizes the life”–Lissitski, 1922 Until the appearance of the construtivismo, any movement in the evolution of the modern art had been an expression so inserted in a concrete revolutionary reality, or it had placed so explicitamente the social function of the art as a political subject. The construtivismo was an expression with Marxist ideologies and it was intimately linked to a revolutionary communist organism. In its pulp, the construtivismo had the conviction that the artist could contribute to supply the physical and intellectual needs of the society as a whole, linking directly with the production of machines, with the architectural engineering and with the graphic and photographic means of communication. The art becomes I orchestrate of social transformation, it participates in the reconstruction in the life way and of the “revolucionarização” of the conscience of the people, he/she wants to satisfy the material needs and to organize and to systematize the feelings of the revolutionary proletariat - eis the objective: not the political art, but the socialização of the art. Starting from 1915, Suprematismo of Malevitch and Construtivismo of Tatlin (1885-1953) they are the two great currents of the Russian art; both they interfere in the vast movement of the ideological and revolutionary vanguard, led by Maiakovski and officially sustained by the commissary for the government's of Lênin instruction, Lunacharsky. The “Realistic Manifesto”, written by Naum I Flatter and signed by its brother Antoine Pevsner, it defined the limits and possibilities of the clearly art-no figurative and it thwarted the metaphysical ideas of Malevitch. Considered the first construtivista, the “Realistic Manifesto” it was afixado in the walls of Moscow during the first he/she lifts of political revolution amid the civil war and he/she had, therefore, great repercussion. Starting from him, many manifestos of antagonistic, different currents, even so, that they also looked for that social subject, they were announced. With the appearance of NEP in 1921, the New Economic Politics of Lênin, the usefulness of the construtivismo became questioned seriously. It is soon after, with its death and the fall of Lunacharsky, the new bureaucracy stalinista reduced the art to an instrument of political propaganda and of cultural popularization. The vanguard was disapproven and repressed; the old academy, revalued. Starting from 1930 approximately, the painting, the architecture and the sculpture of the Soviet Union became similar in everything, except in the thematic, to the painting, to the sculpture and the official of the Italian fascism architecture and of the nazismo alemão.aa Dialogues and influences Observing the antecedents and preliminaries of the construtivismo now, it can be affirmed that, in synthesis, the initial experiences of the modern painting, verified in the period that is going from the first half of the century 19, with the romantismo and the realism, even Cézanne (1839-1906) and the cubism, in the beginning of the century 20, they proceed to the breakup of the system renascentista and they sketch new paradigms.
At the beginning, it is necessary to repair to the work of Cézanne, that, for the construtivismo, it has been meaning strategic because, Tarabukin says, it is " starting from Cézanne that the painter begins to throw all its attention on the structure material Real of the screen.” It can understand each other, in the case, such structure as the specific ordering of the materials Real of the painting, is worth to say, the color, the texture, the brushstroke and its organization. It is in the work of Cézanne, that, for besides the dimension representacional, the structure of the painting will win prominence, coming explicit and with determination, for its observer, as focus of attention incontornável.
Some progresses that the cubism introduces, in a new pictorial economy: purification in the processual way of its subjective extraction, present in Cézanne, to turn it, with relationship to its origin, impersonal and abstract such a module or machine engagement and radicalização of the processual dimension of the art. On the other hand, one of the basic characteristics of the century XX went the victory of to abstraction on the mimese, a victory based on the prestige that the reason and the science possessed at the beginning of the century. The new abstraction degree consisted of the introduction of the time in the science–and the cubism explored this new vision of a noticed reality in a dynamic and simultaneous way starting from several point of view.
The construtivistas learns with the Italian futurists a new form of diffusion of the thought, the manifesto, and they are used of him to expose its ideas and concepts. Besides, the aesthetics, the ideário and the futurist objects will be appropriate and transformed by the construtivismo. Trotski considers that " the futurism is a European phenomenon that wakes up interest because, among other reasons, he/she didn't close, unlike what he/she affirms the Russian formal school, in the limits of the art, but, since the beginning, he/she linked to the political and social events, above all in Italy ". Malevitch says that “THE cubism and the futurism, revolutionary artistic forms, were the prenúncios of the political and economic Revolution of 1917 ".
Of that form, Cubism and Futurism they were known quickly and assimilated in Russia, where a group of artists, born of the combination of the two (desconstrução of the space and of the cubist and thematic of the city object, of the movement and of the futurist speed), it was denominated even of cubofuturistas.
Some authors separate Construtivismo of Produtivismo, doing a second phase of the first of this (starting from the superação of the composition for the construction and of the primacy of the utilitarismo), while others place the produtivismo as characteristic of the construtivismo.
The conceptions construtivistas and suprematistas coincide in many aspects, mainly in the fact of both they want to be materialistic and concrete. Even so the suprematismo, as well as Western Construtivismo, alleges the geometry as model contemplativo, of abstract language, starting from having presupposed idealists or mystics. In synthesis, he/she gives him, in this threshold, the superação of the dimension representacional of the art and the postulação of an object with value in itself, that is, whose connections are put in him own and not in some external instance. Malevich denominates this again in the pictorial realism. It is forged a new notion of realism there, entirely different from that frank one, derived of the naturalismo.
In the capitalist Occident, with possible exception of the dadaístas, that you/they work the reception of its works previously, the moment of the production be disentailed of the reception or of the consumption–unlike what it happens in Construtivismo. Authors O. Hahn and M. A. Prat gets to propose the breakup “of the apparent contradiction between dadaísmo and construtivismo.” Hahn saw in I Flatter and Pevsner the origin of the movement.
He/she identifies correntemente the construtivismo with succedaneums Westerners of same denomination: certain products of German Bauhaus and the Dutch neoplasticismo, for example. It is right that all these groups were unfolded, according to varied degrees, starting from echoes of the Russian construtivismo, but, to rigidity, them not very he/she has to do with the beginnings and objectives originals of the Russian construtivismo. They are authors solemnity-exiles as I Flatter and Pevsner, that diverge of the construtivismo, and, without forgetting of other, like Kandinski and Chagall, that construtivistas was never said - but, that, being emigrated Russian and having circulated in the artistic ways of then, they didn't operate to undo the confusion–that contributed, in several ways, so that if it established a contrafação of the movement, capable, in the case, of being conjugated to the capitalism. One should not also forget, in this imbróglio, the paper of the Cold War, that it seconded the operation, begun by the stalinismo, of apagamento of the origins and guidelines of the construtivismo. A retarded construtivismo originated in Rio de Janeiro and in São Paulo under the denomination of Concretismo, soon proceeded by Neo-concretismo, in the decade of 1950.
Movies “Para you, the movies is a show. For me, it is almost a middle of understanding the world.” –Maiakovski, 1922 THE speech construtivista, in highest, recognizes the movies as essential to its ideal (as industrial art, mechanics, anonymous, linked the society and the world Real - filming the existent things and destined to the masses) and it points at that time for the superação of the apprenticeship of the cinematography and of the ideological and aesthetic bad-use of the movies.
But the thought on the movies is late, same among intellectuals of the vanguard–many didn't consider it an art, just a technical apparel; other they saw it as inferior to the theater and the literature for just to reproduce images of the real world, and not to create them. The first ones, later, will support Vertov and Schub, while the seconds will give preference Eisenstein.
The futurism and the construtivismo, in Russia, appear in the movies at first timidly in films with traditional language, be in the insistence in mechanical objects or in the aesthetics of the sceneries and models. As soon as the semantics of the assembly passes for the first plan it is that can be spoken in movies construtivista and soon different abordagem strategies will appear with relationship to the paper of the movies and the film type demanded by the situation. For Dziga Vertov, “the future of the art cinematográfica is the denial of its present” (the old films romanceados and the given space the “intruders” as the music, the literature and the theater). Its movies, a so much futurist, has as object the movement of the things (more specifically, its rhythm) and she leans on in you/he/she refuses it of the psychological and in the exaltation of the machine. By means of the organization, of the construction of the material registered by the assembly–that should not manipulate the material, but to reveal it, to turn it readable, intelligible -, the movies (machine) it will develop heading for the cinematography (constructive vision of the world). With base in the films of Vertov, Gan will do of the movies, in its theoretical writings, the middle of expression construtivista par excellence–understanding the mechanism of the life and standing back of the art for half the representation of the Real (without actors' use, or without encenação).
Sergei Eisenstein will bring, already of the theater, the influence plástica/estética construtivista and its first two films, THE strike and THE encouraçado Potemkin (1924-5), they bring the marks of the constructions scenic construtivistas and of the demanded lineal plastic organization, for example, by Rodchenko. Even so, those are the most superficial aspects of its filiation to the problematic construtivista. Of its studies it will result its theory of the assembly that, in way different from the one of Vertov, it establishes the significant articulation in the movies (the “intervals” among the plans) as an understanding of the social function of the film. Thus, its two following films will found a new movies, called “intellectual.” Eisenstein presents, then, most of the lines of the construtivismo: besides the linearismo of its constructions and its original conception of the assembly, he works the paper and the sense of the objects, it integrates the writing into the image, it uses the architecture as social model and he/she answers vigorously to the notion of social indent.
Arts cénicas
Arts cénicas (or scenic) they are all those that are developed at a stage or local of representation for a public. A lot of times these presentations of the scenic arts can happen in squares and streets. We can say like this also that this stage can be improvised. That is to say, the stage is any local where happens a scenic presentation.
The Circus is probably the art of older espectáculos of entertainment of the world. He/she had origin in traveling people. They exist many circus types: street circus, traditional circus, Chinese circus, Russian circus, etc. The circus universe is actually a group of several arts: malabarismo, clown, acrobatics, training of animals, equilibrismo, magic, etc. There are about 5.000 years, paintings where appear acrobats, contortionists and equilibristas, they were discovered in China, leaving of there a hypothesis of the appearance of the circus art. In that time, the acrobatics was used as training form for the warriors, because it generated agility, flexibility and it forces. Brazilian circuses Below the list of the main Circuses in Activity of Brazil: Circus Bremer Circus of Munique Circo Spacial Circo Estoril Circo Beto Carrero Popular Circus from Brasil Circo Trapézio (RJ) Family Cericola Circo Dioni (SP) Family Rombi Circus di Napoli Circo Orlando Orfei Circo Irmãos Power Kalahary Circus... the only the precorrer all state of Minas Gerais Circus Rotates Brazil Schools of Circus National School of Circus (Rio de Janeiro RJ) Brazilian Academy of Circus (São Paulo SP) Picadeiro Circo Escola (São Paulo SP) Galpão of the Circus (São Paulo SP) Spasso Popular School of Circus (Belo Horizonte MG) Circo Trapézio (Rio de Janeiro RJ) Circo Girassol (Porto Alegre RS) Academia Olimpic (Brasília DF) EL Circo (Santo André SP) Galpão of the artes/Grupo Cambota (Suzano SP) THE dance is an art, that is to say, it is a group of rules to accomplish something with perfection, in which demands ability and commitment when being devoted, though it is a form of expression artistic coordinate, that lacks of feelings and ideas through the corporal movement. In most of the cases, the dance, with steps cadenciados is accompanied to the sound and music compasses and it involves the expression of feelings potenciados for her.
Forms artistic Theatrical Dance Medieval Ballet Dance Modern Dance contemporary Social Dance popular traditional living room Dance it Dances of the womb Dance of Street to see List of dances
The Circus is probably the art of older espectáculos of entertainment of the world. He/she had origin in traveling people. They exist many circus types: street circus, traditional circus, Chinese circus, Russian circus, etc. The circus universe is actually a group of several arts: malabarismo, clown, acrobatics, training of animals, equilibrismo, magic, etc. There are about 5.000 years, paintings where appear acrobats, contortionists and equilibristas, they were discovered in China, leaving of there a hypothesis of the appearance of the circus art. In that time, the acrobatics was used as training form for the warriors, because it generated agility, flexibility and it forces. Brazilian circuses Below the list of the main Circuses in Activity of Brazil: Circus Bremer Circus of Munique Circo Spacial Circo Estoril Circo Beto Carrero Popular Circus from Brasil Circo Trapézio (RJ) Family Cericola Circo Dioni (SP) Family Rombi Circus di Napoli Circo Orlando Orfei Circo Irmãos Power Kalahary Circus... the only the precorrer all state of Minas Gerais Circus Rotates Brazil Schools of Circus National School of Circus (Rio de Janeiro RJ) Brazilian Academy of Circus (São Paulo SP) Picadeiro Circo Escola (São Paulo SP) Galpão of the Circus (São Paulo SP) Spasso Popular School of Circus (Belo Horizonte MG) Circo Trapézio (Rio de Janeiro RJ) Circo Girassol (Porto Alegre RS) Academia Olimpic (Brasília DF) EL Circo (Santo André SP) Galpão of the artes/Grupo Cambota (Suzano SP) THE dance is an art, that is to say, it is a group of rules to accomplish something with perfection, in which demands ability and commitment when being devoted, though it is a form of expression artistic coordinate, that lacks of feelings and ideas through the corporal movement. In most of the cases, the dance, with steps cadenciados is accompanied to the sound and music compasses and it involves the expression of feelings potenciados for her.
Forms artistic Theatrical Dance Medieval Ballet Dance Modern Dance contemporary Social Dance popular traditional living room Dance it Dances of the womb Dance of Street to see List of dances
The Opera
The Opera is an artistic gender that consists of a drama encenado with music.
The drama is presented using the typical elements of the theater, such as cenografia, clothes and performance. However, the letter of the opera (known as libreto) it is sung instead of being spoken. The singers are accompanied by a musical group, that in some operas can be a symphonic orchestra it completes.
The singers and its characters are classified in agreement with its vocal emblems. The masculine singers are classified in bass, low-baritone (or low-singer), baritone, tenor and contratenor. The feminine singers are classified in contralto, mezzosoprano and soprano. Each one of these classifications has subdivisions, I eat for example: a baritone can be a lyrical baritone, a character baritone or a baritone puff, which associate the singer's voice with the characters more adapted for the quality and the emblem of its voice.
Origin THE word opera means " work " in Latin and Italian, related with I opposed, suggesting that this combines the arts of song chorale and soil, recitative and ballet, in a show encenado.
The first considered work an opera, in the sense generally understood, it dates approximately of the year 1597. Dafne was called (now disappeared), written by Jacopo Peri for a circle elitista of humorists florentinos letrados, whose group was known like Camerata. Dafne was an attempt of reviving the classic Greek tragedy, as part of a wide reappearance of the antiquity that characterized the Renaissance. A posterior work of Peri, Eurídice, that dates of the year 1600, is the first opera that survived until the present time. Nevertheless, the use of the term opera begins to be used starting from middles of the century XVII to define the musical plays, to which he/she referred, until then, with universal formulations like Dramma per Music (Musical Drama) or Favola in Music (musical fable). Spoken dialogue or declaimed - called recitative in opera - accompanied by an orchestra, it is the fundamental characteristic of the melodrama, in its original sense. The bel song was a present style in the Italian opera that was characterized by the virtuosity and the decoration that it demonstrated the soloist in its representation. In the first half of the century XIX the bel song reached its higher level, through Gioacchino Rossini's operas, Vincenzo Bellini and Gaetano Donizetti.
French opera Competing with imported productions of the Italian opera, a separate French tradition, tune in French, it was founded by the Italian composer Jean-Baptiste Lully, who monopolized the French opera since 1672. The openings of Lully, its disciplined recitals and flowed and its intermezzos established a pattern that Gluck fought for reforming almost later one century. The opera in France stayed, including ballet interludes and one elaborated it would plan cenográfica.
The French opera was influenced by the bel song of Rossini and other Italian composers.
Opera-comique THE French opera with spoken dialogues is known as opera-comique, independent of its content. This had its peak between the years of 1770 and 1880 and one of its recognized representatives it was Carmen of Bizet in 1875. The opera-comique it served as model for the development of the German singspiel and it can resemble each other to the operetta, according to the weight of its thematic content. The elements of Grand French Opera appeared for the first time in the works Guillaume Tell of Rossini in 1829 and Robert reads Diable of Meyerbeer in 1831. It is characterized by having luxurious and elaborated decorations, a great choir, a great orchestra, obligatory ballets and a high number of characters. Grand Opera's apex in Italy gives him with Verdi with you Read Vespres Siciliennes and Don Carlos and in Germany with Wagner's German Opera Rienzi THE German singspiel Mozart's Magic Flute meets ahead of the tradition of the German Opera that was developed in the century XIX by names as Carl Maria von Weber, Heinrich Marschner and Wagner. This last one introduced the concept of the musical drama, in that the opera left of being composed by " numbers " and the music starts to have a continuous flow, without divisions in arias, duets, etc. The opera Tristão and Isolda were the first to be structured this way.
In a general way, the German opera has the characteristic of approaching mythological and fantastic themes, of high dramaticidade, but that not if enquadram as " comedies " or " tragedies ", as it happens in the Italian opera and in the French opera.
The drama is presented using the typical elements of the theater, such as cenografia, clothes and performance. However, the letter of the opera (known as libreto) it is sung instead of being spoken. The singers are accompanied by a musical group, that in some operas can be a symphonic orchestra it completes.
The singers and its characters are classified in agreement with its vocal emblems. The masculine singers are classified in bass, low-baritone (or low-singer), baritone, tenor and contratenor. The feminine singers are classified in contralto, mezzosoprano and soprano. Each one of these classifications has subdivisions, I eat for example: a baritone can be a lyrical baritone, a character baritone or a baritone puff, which associate the singer's voice with the characters more adapted for the quality and the emblem of its voice.
Origin THE word opera means " work " in Latin and Italian, related with I opposed, suggesting that this combines the arts of song chorale and soil, recitative and ballet, in a show encenado.
The first considered work an opera, in the sense generally understood, it dates approximately of the year 1597. Dafne was called (now disappeared), written by Jacopo Peri for a circle elitista of humorists florentinos letrados, whose group was known like Camerata. Dafne was an attempt of reviving the classic Greek tragedy, as part of a wide reappearance of the antiquity that characterized the Renaissance. A posterior work of Peri, Eurídice, that dates of the year 1600, is the first opera that survived until the present time. Nevertheless, the use of the term opera begins to be used starting from middles of the century XVII to define the musical plays, to which he/she referred, until then, with universal formulations like Dramma per Music (Musical Drama) or Favola in Music (musical fable). Spoken dialogue or declaimed - called recitative in opera - accompanied by an orchestra, it is the fundamental characteristic of the melodrama, in its original sense. The bel song was a present style in the Italian opera that was characterized by the virtuosity and the decoration that it demonstrated the soloist in its representation. In the first half of the century XIX the bel song reached its higher level, through Gioacchino Rossini's operas, Vincenzo Bellini and Gaetano Donizetti.
French opera Competing with imported productions of the Italian opera, a separate French tradition, tune in French, it was founded by the Italian composer Jean-Baptiste Lully, who monopolized the French opera since 1672. The openings of Lully, its disciplined recitals and flowed and its intermezzos established a pattern that Gluck fought for reforming almost later one century. The opera in France stayed, including ballet interludes and one elaborated it would plan cenográfica.
The French opera was influenced by the bel song of Rossini and other Italian composers.
Opera-comique THE French opera with spoken dialogues is known as opera-comique, independent of its content. This had its peak between the years of 1770 and 1880 and one of its recognized representatives it was Carmen of Bizet in 1875. The opera-comique it served as model for the development of the German singspiel and it can resemble each other to the operetta, according to the weight of its thematic content. The elements of Grand French Opera appeared for the first time in the works Guillaume Tell of Rossini in 1829 and Robert reads Diable of Meyerbeer in 1831. It is characterized by having luxurious and elaborated decorations, a great choir, a great orchestra, obligatory ballets and a high number of characters. Grand Opera's apex in Italy gives him with Verdi with you Read Vespres Siciliennes and Don Carlos and in Germany with Wagner's German Opera Rienzi THE German singspiel Mozart's Magic Flute meets ahead of the tradition of the German Opera that was developed in the century XIX by names as Carl Maria von Weber, Heinrich Marschner and Wagner. This last one introduced the concept of the musical drama, in that the opera left of being composed by " numbers " and the music starts to have a continuous flow, without divisions in arias, duets, etc. The opera Tristão and Isolda were the first to be structured this way.
In a general way, the German opera has the characteristic of approaching mythological and fantastic themes, of high dramaticidade, but that not if enquadram as " comedies " or " tragedies ", as it happens in the Italian opera and in the French opera.
Pop Art
Romero Britto (Recife, October 6, 1963) he/she is a painter and Brazilian sculptor.
It is known as Brazilian Pop Artist, being rooted in Miami. Its works dropped in the celebrities' taste for its happiness, coloring and imagination, having been raised for the fame when accomplishing the illustration of an advertising campaign for the vodka Absolut.
Pop Art, movement that used illustrations and popular icons as theme of its paintings In the derradeiro moment of the modernism, everything is ready image to be consumed. This way, Pop Art tries to decrease the lacuna between the low calls and high culture using elements of the call mass culture.
It is not a critic to the consumerism, nor to the mass culture in itself, but yes a comment that tries to rescue the function of the art as participant of the human being day-to-day, giving meaning to the contemporary human existence, to the life of most. An art gender in that each object combined the qualities of the “done in series” and of the “only.” “I use given to the that is despised”, Roy Liechtenstein, one of the exponents of the movement said. The mass culture and the appearance of the Pop Decoration and Horkheimer, in the forties, they coined the term “cultural industry” to express what believed to be the consummation of the mercantile uniformização of the world, a typical phenomenon of the century XX and of the mass society that won body and statute of global reality in him. In this context, it was spoken plenty about the opposition ‘high culture x low culture ' and that the own culture nomination would already presuppose merely a level lowering, a calculação administrative and redutora of the essential of the creations of the spirit.
However, only in the decade of fifty that a handful of intellectuals tried to do very clear distinctions among the high culture, the medium culture and the mass culture, but that dropped quickly for earth, because he/she didn't contemplate, actually, the realities, not even of the modern literature.
In the middle of the decade of 50 the artists, for its time, defend a popular art (pop), that communicates directly with the public by means of signs and removed symbols of the imaginary that surrounds the culture of masses and the daily life. The defense of the popular translates an adverse artistic attitude to the hermetism of the modern art. In that sense, the pop art is placed in the artistic scene as one of the movements that refuses the separation arte/vida. And he does for the incorporation of the histories in pictures, of the publicity, of the images televisivas and of the movies. Thus, Pop Art appears, in England, through a group of entitled artists The Independent Group. Is the first Pop considered work exactly IT what it turns the lares today so different, so attractive?, of Richard Hamilton. The artists and critics members of Independent Group throw in first hand the bases in the new way of artistic expression, that benefits of the technological changes and of the wide range of possibilities placed by the modern visualidade, that is in the world - streets and houses - and not just in museums and galleries. Eduardo Luigi Paolozzi, Richard Smith and Peter Blake are some of the main names of the British group.
It is possible to observe in the British Pop works a certain dazzle for the american way of life through the mitificação of the culture estadunidense. It is necessary to take in consideration that England went by a postwar period, if reerguendo and shimmering the North American economic prosperity. This way, all the works of the British pop artists accepted the industrial culture and they assimilated aspects of her in its art in an eclectic and universal way.
Unlike what it happened in Grã-Britain, in United States the artists work separately up to 1963, when two exhibitions (Art 1963: new vocabulary, Arts Council, Philadelphia and The new realists, Sidney Janis Gallery, New York) they gather works that benefit of the advertising material and of the media. It is on that moment that Andy Warhol's names, Roy Lichtenstein, Claes Oldenburg, James Rosenquist and Tom Wesselmann appear as the main representatives of the pop art in North American soil. Without common style, programs or manifestos, the those artists' works are tuned by the thematic ones approached, for the simplified drawing and for the saturated colors. The new attention granted to the common objects and the daily life finds its precursors in the antiarte of the dadaístas.
The North American artists still take as reference a certain local figurative tradition - Robert Rauschenberg's three-dimensional collages (1925) and Jasper Johns's plane and emblematic images (1930) - that opens the art for the use of images and objects registered in the daily. In the treatment of that specific plastic repertoire it is not observed the subjective load and the lyrical-dramatic gesture, characteristic of the abstract expressionism - that, in fact, the pop art comments in works of form paródica as it Paints with a brush (1965) of Roy Lichtenstein. Inside the North American group, the name of T. Wesselmann links to the nature-dead composed with commercial products, the one of Lichtenstein to the pictures (Whaam!, 1963) and the one of C. Oldenburg, more directly to the sculptures (Double Hamburger, 1962).
An art that doesn't criticize unlike the one that a majority can believe to the first view, Pop Art didn't want to criticize the consumption means, of communication, the capitalism and the mass it measured. The Pop art just intended to represent the social of the time and to celebrate the nuances of the language of the urban culture. The Pop artists reflect a complete lack of political intention. They just wanted to portray the middle that surrounded them; what interests they are the images, the atmosphere, the life that the industrial technology created in the great urban centers. Its intentions are much more positive or ironic, that critics.
And them not only they didn't criticize the imaginary of the mass means, as well as they didn't homage the fantastic aspects of the modern civilization with its colored robots. They just mixed several pieces of the commercial language in a subjective artistic language, transforming it in its personal visions, even so without appealing to an expressive abordagem to pack its messages.
Many of the Pop artists excellent painters had already revealed, and in its works of Pop Art they showed a different style. They were not sacrificing its artistic qualities for the commercial power of the imaginary, but also not for a severe critic of the consumption society; they were social comments, done with different terms. Did they just want to know and to show " the one what it is that does that our lares is today so different, so charming "?.
Commercial art X Learned Art THE main discussion in the artistic ways always went to what extent to pop art art can be considered. This subject is lifted by the learned members of the art of the time, that so much tried to resist to the fact that a commercial art cannot, and he/she doesn't stop being, an art.
Many defended that the reason for an advertising art not to be taken as art is because of the ends so that this art is made, it is an art that is already born in the conception that needs to sell and to be sold. But to what extent are these learned artists distant of they conceive its works for they be sold? Starting from the moment that the mecenato is extinct, the artists depend on the merchants for they obtain its life gains. The difference is that nor everybody can wait for the luck of they have its works you accept in museums of fames and they turn its very profitable works.
The option for an art as Pop Art becomes obvious to verify that to the most representative artists of this movement had to travel several roads of the popular culture, since they didn't get to obtain immediate success in the artistic scene. In spite of they have a learned formation of the art just as the artists of the abstract expressionism (I move of the " high " art that prevailed at that time), they could not limit its studies to the arts. They were forced they look for it alternative forms of artistic works, as the painting of posters, collages for advertising announcements, drawings of announcements of products, etc. And it was through this contact with the commercial culture that they started to notice a new art conception.
The epic poet became substituted by the daily, what was produced in mass it received the same importance than it was only and irreproduzível. What was considered vulgar and banal he/she passed becoming refined. If the movies, the design and the coca-glue were part of the those artists' day-to-day, why not to see these elements under an artistic optics? Thus, the distinction between " high " art and " vulgar " art went disappearing.
The artists of the Pop didn't fight against the critics that said that its arts were almost indistinguishable of a publicity art, on the contrary, they affirmed this position and they placed in subject the reason of a commercial art not to also be Art. A process of creative and artistic creation existed inside of that advertising art of a certain form equal to the that happened in a " art for the art ".
The pop art approached the Art of the masses as no other left art had gotten to do, therefore desmistificou that before was seen " for few ", if using of own objects of that mass. Not only the popular culture becomes an art theme, but the art also becomes integral of the popular culture. It went through to Pop that the films and the pictures started to go for the museum and the international exhibitions
It is known as Brazilian Pop Artist, being rooted in Miami. Its works dropped in the celebrities' taste for its happiness, coloring and imagination, having been raised for the fame when accomplishing the illustration of an advertising campaign for the vodka Absolut.
Pop Art, movement that used illustrations and popular icons as theme of its paintings In the derradeiro moment of the modernism, everything is ready image to be consumed. This way, Pop Art tries to decrease the lacuna between the low calls and high culture using elements of the call mass culture.
It is not a critic to the consumerism, nor to the mass culture in itself, but yes a comment that tries to rescue the function of the art as participant of the human being day-to-day, giving meaning to the contemporary human existence, to the life of most. An art gender in that each object combined the qualities of the “done in series” and of the “only.” “I use given to the that is despised”, Roy Liechtenstein, one of the exponents of the movement said. The mass culture and the appearance of the Pop Decoration and Horkheimer, in the forties, they coined the term “cultural industry” to express what believed to be the consummation of the mercantile uniformização of the world, a typical phenomenon of the century XX and of the mass society that won body and statute of global reality in him. In this context, it was spoken plenty about the opposition ‘high culture x low culture ' and that the own culture nomination would already presuppose merely a level lowering, a calculação administrative and redutora of the essential of the creations of the spirit.
However, only in the decade of fifty that a handful of intellectuals tried to do very clear distinctions among the high culture, the medium culture and the mass culture, but that dropped quickly for earth, because he/she didn't contemplate, actually, the realities, not even of the modern literature.
In the middle of the decade of 50 the artists, for its time, defend a popular art (pop), that communicates directly with the public by means of signs and removed symbols of the imaginary that surrounds the culture of masses and the daily life. The defense of the popular translates an adverse artistic attitude to the hermetism of the modern art. In that sense, the pop art is placed in the artistic scene as one of the movements that refuses the separation arte/vida. And he does for the incorporation of the histories in pictures, of the publicity, of the images televisivas and of the movies. Thus, Pop Art appears, in England, through a group of entitled artists The Independent Group. Is the first Pop considered work exactly IT what it turns the lares today so different, so attractive?, of Richard Hamilton. The artists and critics members of Independent Group throw in first hand the bases in the new way of artistic expression, that benefits of the technological changes and of the wide range of possibilities placed by the modern visualidade, that is in the world - streets and houses - and not just in museums and galleries. Eduardo Luigi Paolozzi, Richard Smith and Peter Blake are some of the main names of the British group.
It is possible to observe in the British Pop works a certain dazzle for the american way of life through the mitificação of the culture estadunidense. It is necessary to take in consideration that England went by a postwar period, if reerguendo and shimmering the North American economic prosperity. This way, all the works of the British pop artists accepted the industrial culture and they assimilated aspects of her in its art in an eclectic and universal way.
Unlike what it happened in Grã-Britain, in United States the artists work separately up to 1963, when two exhibitions (Art 1963: new vocabulary, Arts Council, Philadelphia and The new realists, Sidney Janis Gallery, New York) they gather works that benefit of the advertising material and of the media. It is on that moment that Andy Warhol's names, Roy Lichtenstein, Claes Oldenburg, James Rosenquist and Tom Wesselmann appear as the main representatives of the pop art in North American soil. Without common style, programs or manifestos, the those artists' works are tuned by the thematic ones approached, for the simplified drawing and for the saturated colors. The new attention granted to the common objects and the daily life finds its precursors in the antiarte of the dadaístas.
The North American artists still take as reference a certain local figurative tradition - Robert Rauschenberg's three-dimensional collages (1925) and Jasper Johns's plane and emblematic images (1930) - that opens the art for the use of images and objects registered in the daily. In the treatment of that specific plastic repertoire it is not observed the subjective load and the lyrical-dramatic gesture, characteristic of the abstract expressionism - that, in fact, the pop art comments in works of form paródica as it Paints with a brush (1965) of Roy Lichtenstein. Inside the North American group, the name of T. Wesselmann links to the nature-dead composed with commercial products, the one of Lichtenstein to the pictures (Whaam!, 1963) and the one of C. Oldenburg, more directly to the sculptures (Double Hamburger, 1962).
An art that doesn't criticize unlike the one that a majority can believe to the first view, Pop Art didn't want to criticize the consumption means, of communication, the capitalism and the mass it measured. The Pop art just intended to represent the social of the time and to celebrate the nuances of the language of the urban culture. The Pop artists reflect a complete lack of political intention. They just wanted to portray the middle that surrounded them; what interests they are the images, the atmosphere, the life that the industrial technology created in the great urban centers. Its intentions are much more positive or ironic, that critics.
And them not only they didn't criticize the imaginary of the mass means, as well as they didn't homage the fantastic aspects of the modern civilization with its colored robots. They just mixed several pieces of the commercial language in a subjective artistic language, transforming it in its personal visions, even so without appealing to an expressive abordagem to pack its messages.
Many of the Pop artists excellent painters had already revealed, and in its works of Pop Art they showed a different style. They were not sacrificing its artistic qualities for the commercial power of the imaginary, but also not for a severe critic of the consumption society; they were social comments, done with different terms. Did they just want to know and to show " the one what it is that does that our lares is today so different, so charming "?.
Commercial art X Learned Art THE main discussion in the artistic ways always went to what extent to pop art art can be considered. This subject is lifted by the learned members of the art of the time, that so much tried to resist to the fact that a commercial art cannot, and he/she doesn't stop being, an art.
Many defended that the reason for an advertising art not to be taken as art is because of the ends so that this art is made, it is an art that is already born in the conception that needs to sell and to be sold. But to what extent are these learned artists distant of they conceive its works for they be sold? Starting from the moment that the mecenato is extinct, the artists depend on the merchants for they obtain its life gains. The difference is that nor everybody can wait for the luck of they have its works you accept in museums of fames and they turn its very profitable works.
The option for an art as Pop Art becomes obvious to verify that to the most representative artists of this movement had to travel several roads of the popular culture, since they didn't get to obtain immediate success in the artistic scene. In spite of they have a learned formation of the art just as the artists of the abstract expressionism (I move of the " high " art that prevailed at that time), they could not limit its studies to the arts. They were forced they look for it alternative forms of artistic works, as the painting of posters, collages for advertising announcements, drawings of announcements of products, etc. And it was through this contact with the commercial culture that they started to notice a new art conception.
The epic poet became substituted by the daily, what was produced in mass it received the same importance than it was only and irreproduzível. What was considered vulgar and banal he/she passed becoming refined. If the movies, the design and the coca-glue were part of the those artists' day-to-day, why not to see these elements under an artistic optics? Thus, the distinction between " high " art and " vulgar " art went disappearing.
The artists of the Pop didn't fight against the critics that said that its arts were almost indistinguishable of a publicity art, on the contrary, they affirmed this position and they placed in subject the reason of a commercial art not to also be Art. A process of creative and artistic creation existed inside of that advertising art of a certain form equal to the that happened in a " art for the art ".
The pop art approached the Art of the masses as no other left art had gotten to do, therefore desmistificou that before was seen " for few ", if using of own objects of that mass. Not only the popular culture becomes an art theme, but the art also becomes integral of the popular culture. It went through to Pop that the films and the pictures started to go for the museum and the international exhibitions
The old art
The old art refers to the art developed by the old civilizations after the writing discovery and that he/she extends to the fall of the Roman empire of the occident, in 476 d.C, aquando of the barbaric invasions. - Starting from 4000 a.C. in the zone of fork of the river Tiger with the river Eufrates. - Palaces, temples (zigurate), cameras mortuaries (vault and arch). - Marinate, wood, colored brick for decoration. - Illustrations alabaster nuns (hierarchy for height and size of the eyes). Geometric and schematic forms based on the cone and in the cylinder. - Influence in the art of the Assyrian and of Babilónia - Initially in the north zone of the river Tiger, later on he/she extends to empire of great dimensions. Peak among c. 1000 and 612 a.C..
- Temples and monumental zigurates. Brick, also stone in the entrances of the cities and rooms. - Monumental sculpture (guardian demónios), narrative low-relief in great scale. - Influence of the art of Suméria. - City of Babilónia. 1st period with founder of the dynasty babilónica, Hamurabi. 2nd prominence period among 612-539 a.C. with Nabucodonosor (Tower of Babel, suspended of Babilónia Gardens). - Colored glazed brick for decoration of surfaces arquitectónicas. - Representation of the animal illustration. Initially guide it of Mesopotâmia (actual will Go), local of passage of tribes nómadas. - Art ornamental nómada (weapons, cups, vases) in wood, bone, metal. Style animalista, figurative and organic abstracção. - Posterior people heir of the Assyrian empire, conquers of the babilónia in 539 a.C..
- Colossal palaces (several influences, ceremonial and repetitive atmosphere), absence of religious arquitectura. - Sculpture associated to the arquitectura. - During 3000 years to the conquest for Alexandre, the Big in the century IV a.C..
- Monumental Arquitectura (stone), temples, art mortuary, (pyramids, mastabas). - Reliefs and paintings murals associated to the arquitectura, vulto sculpture and colossal, ornamental arts and furniture. - Solemn Carácter with base in rigid canons of representation, symbolism.
- Characteristic style of the people of Celtic language, in Europe (continent and, especially, islands - England, Ireland) that is already developed from the prehistory, - characteristic Style of the Germanic people. To see also: Pré-Romance for the contextualização of the art of the germanos during the migrations of the barbaric people in the Medium Age. Archipelago of Cíclades, Age of the brass (2500-1600 a.C.).
- Objectos in ceramic (vases, chalices, etc) of geometric decoration (lines, curves, spirals). - Small idols in marble of synthetic lines with nose highlighted in relief. - Art cretense (Island of Creta), Age of the brass (2300-100 a.C.).
- Ornamental of harmony painting mural and movement, alive colors and seen frontal associated to the arquitectura palaciana (of informal and practical structure). - Ceramic pieces, little sculpture (small illustrations in clay and terracota, vessels). - Thematic of the quotidiano, animal world (marine), religion (devotiva and ritual). - Aqueus established in Greek territory, Age of the brass. - Main center in Micenas, influence of the art minóica. - Monumental Arquitectura, painting without lightness of the art cretense, thematic military and narrative.
- Art of the fenícios, people of origin semita that colonized the south of the italic peninsula, Sicily, south of the Iberian and north peninsula of Africa, with acme among c. 1000 a.C. and 800 a.C..
- Dedicated mainly to the craft (utilitarian objectos), trade and sailing in the zone of Mediterranean. - Influence of the Egyptian art, egeia, micénica, mesopotâmica and Greek. - People etrusco, area of Toscana, centuries VIII II a.C..
- Art mortuary, cameras tumulares with painting mural, urns, sculpture in sarcophaguses (jacentes), busts. - Ornamental pieces in brass and terracota, joalharia. - Influence of the Greek archaic art. Magna Grécia: Greece, south of Italy, Sicily, century I SAW IV a.C..
- Arquitectura religious person (Temples in stone, orders arquitectónicas), public buildings (theaters etc.).
- Ceramic (with ornamental painting), vulto sculpture (marble, brass). - Art linked to the intelectualismo, the man's valorização, looks for of the perfection, harmony, balance, proportion. Inspiration in the nature, realism. - Thematic mythological, of the quotidiano. To see also: Arquitectura | Sculpture | Painting - Roman Empire, century VIII a.C. IV d.C.. Great influence of the Greek art. - Development arquitectónico with taste for the colossal and magnificente. Public buildings (bridges, aqueducts, termas, amphitheaters etc.), religious basilicas, temples. - Historical sculpture, busts. First artistic expression of the Christians, area of the Roman empire of the occident, Rome, among century III and V d.C..
- Painting mural (fresh) in catacombs, sarcophaguses. - Appearance of the first Christian basilicas after the oficialização of the religion. First artistic expression of the Christians, area of the Roman empire of the occident, Rome, among century III and V d.C..
- Painting mural (fresh) in catacombs, sarcophaguses. - Appearance of the first Christian basilicas after the oficialização of the religion. Christian art of the Roman empire of the east, from the transition of the capital of the empire for Constantinople to its conquest in 1453 for the Turks. - Influence of the Roman art and of the oriental art. - Arquitectura religious person (cupula), painting and mosaic of carácter bidimensional and symbolic (icons).
- Temples and monumental zigurates. Brick, also stone in the entrances of the cities and rooms. - Monumental sculpture (guardian demónios), narrative low-relief in great scale. - Influence of the art of Suméria. - City of Babilónia. 1st period with founder of the dynasty babilónica, Hamurabi. 2nd prominence period among 612-539 a.C. with Nabucodonosor (Tower of Babel, suspended of Babilónia Gardens). - Colored glazed brick for decoration of surfaces arquitectónicas. - Representation of the animal illustration. Initially guide it of Mesopotâmia (actual will Go), local of passage of tribes nómadas. - Art ornamental nómada (weapons, cups, vases) in wood, bone, metal. Style animalista, figurative and organic abstracção. - Posterior people heir of the Assyrian empire, conquers of the babilónia in 539 a.C..
- Colossal palaces (several influences, ceremonial and repetitive atmosphere), absence of religious arquitectura. - Sculpture associated to the arquitectura. - During 3000 years to the conquest for Alexandre, the Big in the century IV a.C..
- Monumental Arquitectura (stone), temples, art mortuary, (pyramids, mastabas). - Reliefs and paintings murals associated to the arquitectura, vulto sculpture and colossal, ornamental arts and furniture. - Solemn Carácter with base in rigid canons of representation, symbolism.
- Characteristic style of the people of Celtic language, in Europe (continent and, especially, islands - England, Ireland) that is already developed from the prehistory, - characteristic Style of the Germanic people. To see also: Pré-Romance for the contextualização of the art of the germanos during the migrations of the barbaric people in the Medium Age. Archipelago of Cíclades, Age of the brass (2500-1600 a.C.).
- Objectos in ceramic (vases, chalices, etc) of geometric decoration (lines, curves, spirals). - Small idols in marble of synthetic lines with nose highlighted in relief. - Art cretense (Island of Creta), Age of the brass (2300-100 a.C.).
- Ornamental of harmony painting mural and movement, alive colors and seen frontal associated to the arquitectura palaciana (of informal and practical structure). - Ceramic pieces, little sculpture (small illustrations in clay and terracota, vessels). - Thematic of the quotidiano, animal world (marine), religion (devotiva and ritual). - Aqueus established in Greek territory, Age of the brass. - Main center in Micenas, influence of the art minóica. - Monumental Arquitectura, painting without lightness of the art cretense, thematic military and narrative.
- Art of the fenícios, people of origin semita that colonized the south of the italic peninsula, Sicily, south of the Iberian and north peninsula of Africa, with acme among c. 1000 a.C. and 800 a.C..
- Dedicated mainly to the craft (utilitarian objectos), trade and sailing in the zone of Mediterranean. - Influence of the Egyptian art, egeia, micénica, mesopotâmica and Greek. - People etrusco, area of Toscana, centuries VIII II a.C..
- Art mortuary, cameras tumulares with painting mural, urns, sculpture in sarcophaguses (jacentes), busts. - Ornamental pieces in brass and terracota, joalharia. - Influence of the Greek archaic art. Magna Grécia: Greece, south of Italy, Sicily, century I SAW IV a.C..
- Arquitectura religious person (Temples in stone, orders arquitectónicas), public buildings (theaters etc.).
- Ceramic (with ornamental painting), vulto sculpture (marble, brass). - Art linked to the intelectualismo, the man's valorização, looks for of the perfection, harmony, balance, proportion. Inspiration in the nature, realism. - Thematic mythological, of the quotidiano. To see also: Arquitectura | Sculpture | Painting - Roman Empire, century VIII a.C. IV d.C.. Great influence of the Greek art. - Development arquitectónico with taste for the colossal and magnificente. Public buildings (bridges, aqueducts, termas, amphitheaters etc.), religious basilicas, temples. - Historical sculpture, busts. First artistic expression of the Christians, area of the Roman empire of the occident, Rome, among century III and V d.C..
- Painting mural (fresh) in catacombs, sarcophaguses. - Appearance of the first Christian basilicas after the oficialização of the religion. First artistic expression of the Christians, area of the Roman empire of the occident, Rome, among century III and V d.C..
- Painting mural (fresh) in catacombs, sarcophaguses. - Appearance of the first Christian basilicas after the oficialização of the religion. Christian art of the Roman empire of the east, from the transition of the capital of the empire for Constantinople to its conquest in 1453 for the Turks. - Influence of the Roman art and of the oriental art. - Arquitectura religious person (cupula), painting and mosaic of carácter bidimensional and symbolic (icons).
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