tag:blogger.com,1999:blog-27169505384421335812024-03-05T00:13:14.379-08:00Imitatio e RenovatioRecepção da Tradição ClássicaA Recepção da Tradição Clássicahttp://www.blogger.com/profile/10201287684111512798noreply@blogger.comBlogger5125tag:blogger.com,1999:blog-2716950538442133581.post-44381732723086380972008-06-09T20:33:00.000-07:002008-06-13T12:13:37.464-07:00Wölfflin fala sobre a Escola de Atenas<div style="text-align: justify;">Heinrich Wölfflin fala sobre a Escola de Atenas - As influências de Michelangelo na pintura de Rafael. [1]<br /></div><br /><br /><br /><div style="text-align: justify;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS_7CMLwqFqJmObfjzIaWssh9Ln9Zi4KbDfeBp1jwSaomxU7xmQrPj8RIJmBEqgvRA463XFZqhqScnkky_PnQI_Qhg8urgpjPQplWzQKm45sHqA7BUzKR3m3jH5F5PwFWmjUWvlaC04pg/s1600-h/detalhe_escola.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS_7CMLwqFqJmObfjzIaWssh9Ln9Zi4KbDfeBp1jwSaomxU7xmQrPj8RIJmBEqgvRA463XFZqhqScnkky_PnQI_Qhg8urgpjPQplWzQKm45sHqA7BUzKR3m3jH5F5PwFWmjUWvlaC04pg/s400/detalhe_escola.JPG" alt="" id="BLOGGER_PHOTO_ID_5210096216704864354" border="0" /></a>Ele não fala dessas influências sobre a figura do "pensieroso", mas sobre a personagem em seu lado esquerdo, devido às suas torções, ao pé suspenso, ao braço esticado e à posição da cabeça, o que, segundo o historiador, faz com que Rafael perca sua natural sensibilidade em detrimento da forte personalidade Michelangeana.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix62p2MDW23UiqMFvmhlpZ_mKu_yL5nW91uCImpHgQ5L3Q47wtoCt7NXo-Iqf8hNXRYJmo9guJ6E2o2QM8iTY3Q1l4xWxhSVidDeFWBztlA2Ku7pHI7u66qGKZO8PzvO6OOIw6yvFZIcQ/s1600-h/Leda_Leonardo.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix62p2MDW23UiqMFvmhlpZ_mKu_yL5nW91uCImpHgQ5L3Q47wtoCt7NXo-Iqf8hNXRYJmo9guJ6E2o2QM8iTY3Q1l4xWxhSVidDeFWBztlA2Ku7pHI7u66qGKZO8PzvO6OOIw6yvFZIcQ/s400/Leda_Leonardo.jpg" alt="" id="BLOGGER_PHOTO_ID_5211442155882826194" border="0" /></a>Entretanto há no texto uma nota que esclarece que a figura em si não se encontra em Michelangelo, mas num desenho que Rafael faz a partir da Leda de Leonardo, o qual se tem ainda preservado.<br /></div><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVIRvkzpjk8KMKCYBpcW9bFXhD3Iyyk0s5DC363U-rhhyphenhyphenvP0JAYQesdgVBx2QwgrLQY36Ye_Erxs7RQQJJvE0sw7tXF0TiXXbcYL3xRIFn0y3_e9vmmkxJ_qw1s8tZaTyXHg82LCzLcnk/s1600-h/nb_sculpture_robbia_luca_plato_and_aristotle.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVIRvkzpjk8KMKCYBpcW9bFXhD3Iyyk0s5DC363U-rhhyphenhyphenvP0JAYQesdgVBx2QwgrLQY36Ye_Erxs7RQQJJvE0sw7tXF0TiXXbcYL3xRIFn0y3_e9vmmkxJ_qw1s8tZaTyXHg82LCzLcnk/s400/nb_sculpture_robbia_luca_plato_and_aristotle.jpg" alt="" id="BLOGGER_PHOTO_ID_5210096223282929314" border="0" /></a><span style="" lang="EN-US"><span style="font-style: italic;">Filósofos</span>, 1437-1439, <st1:place st="on"><st1:city st="on">Florença<br /><br /></st1:city></st1:place></span><div style="text-align: justify;">Wölfflin destaca esta imagem de Luca della Robbia como uma predecessora da representação de filósofos em debate da escola de Atenas: um aponta seu texto enquanto o outro gesticula com ambas as mãos.<br /></div><br /><div style="text-align: justify;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKIiT69WVKMADBnLRODb58tc5bdjxM4XAtNNcMikwmtF2MTXoLgRGwv1l3CHlG7yd_HAyObuNSuGcllb7LJfEUa_HPcnmzrjrXfvYmDGpeGxP3-vRCSRb6mFVaehUCcE4EGjMUpcYckn0/s1600-h/Porta+de+Donatello+em+S+Lorenzo_Ap%C3%B3stolos.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKIiT69WVKMADBnLRODb58tc5bdjxM4XAtNNcMikwmtF2MTXoLgRGwv1l3CHlG7yd_HAyObuNSuGcllb7LJfEUa_HPcnmzrjrXfvYmDGpeGxP3-vRCSRb6mFVaehUCcE4EGjMUpcYckn0/s400/Porta+de+Donatello+em+S+Lorenzo_Ap%C3%B3stolos.jpg" alt="" id="BLOGGER_PHOTO_ID_5210096227351684674" border="0" /></a>O autor aponta, ainda, as imagens das portas em bronze de Donatello em S. Lorenzo (circa 1433 - 1443) como mais uma representação de figuras em debate. Nesta primeira, vemos os Apóstolos.<br /><br /></div><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGWWX3RISFtlj0yP8WGwv0gwwGfXGhWWxmnTS5FLhNYDPsLUxrJuXpuei_3sLGGjcM83ZiSq9oX4o0Tc6FANH1CjJMrmY49VoMqnPSWH6-W6YIM4CDbA-5P690rHPXr41VsYN_2SYxz9E/s1600-h/Porta+de+Donatello+em+S+Lorenzo_M%C3%A1rtires.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGWWX3RISFtlj0yP8WGwv0gwwGfXGhWWxmnTS5FLhNYDPsLUxrJuXpuei_3sLGGjcM83ZiSq9oX4o0Tc6FANH1CjJMrmY49VoMqnPSWH6-W6YIM4CDbA-5P690rHPXr41VsYN_2SYxz9E/s400/Porta+de+Donatello+em+S+Lorenzo_M%C3%A1rtires.jpg" alt="" id="BLOGGER_PHOTO_ID_5210096239289328450" border="0" /></a><br />Donatello na Sacristia de S. Lorenzo (circa 1433 - 1443) - Mártires.<br /><br /><span style="font-size:85%;">[1] WÖLFFLIN, Heinrich. "The School of Athens" in: <span style="font-style: italic;">Raphael's School of Athens. </span>Cambridge: Cambridge University Press, 1997.<br /><br />Postado por: Leidiane Carvalho<br /></span>A Recepção da Tradição Clássicahttp://www.blogger.com/profile/10201287684111512798noreply@blogger.com0tag:blogger.com,1999:blog-2716950538442133581.post-51862966538599468772008-05-04T17:58:00.000-07:002008-05-05T15:14:49.066-07:00Luxo no Barroco e Rococó<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWEXpNeqTDa6NQl79c3EcEus4zlHah25cMTLMG537iWNtmcKEfYk2wauoLXQ7Z5O0_lnoGBiusjKAjqEowJhSFTuu5_62IjIfsv7vHMTsWA_kRpxZHLO_gQwdAzcnaIjjx8w63Cytxaso/s1600-h/07swing.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWEXpNeqTDa6NQl79c3EcEus4zlHah25cMTLMG537iWNtmcKEfYk2wauoLXQ7Z5O0_lnoGBiusjKAjqEowJhSFTuu5_62IjIfsv7vHMTsWA_kRpxZHLO_gQwdAzcnaIjjx8w63Cytxaso/s400/07swing.jpg" alt="" id="BLOGGER_PHOTO_ID_5196693773570214690" border="0" /></a><br /><span style="font-weight: bold; color: rgb(255, 0, 0); font-family: Microsoft Sans Serif;"><span style="color: rgb(51, 51, 51);"><span style="color: rgb(51, 51, 51);">Jean-Honoré Fragonard</span> </span><br /></span><span style="font-weight: bold;">The Swing</span><br /><span style="font-size:85%;">1767<br />Oil on canvas, 81 x 64 cm<br />Wallace Collection, London</span><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwCtl4qTRfKVVaV96IaGmbmBb9TkyT7IdgPEbT-APo70WapFNC0xXdWNXkSEw3Dw25ROxsyafJSSTzdOe-cEJqqa9iKNd3V80rzh80cFkmWA6TqyRYtqwLRwG930m5Rwe5bXOgQrVoYNY/s1600-h/02contes.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwCtl4qTRfKVVaV96IaGmbmBb9TkyT7IdgPEbT-APo70WapFNC0xXdWNXkSEw3Dw25ROxsyafJSSTzdOe-cEJqqa9iKNd3V80rzh80cFkmWA6TqyRYtqwLRwG930m5Rwe5bXOgQrVoYNY/s400/02contes.jpg" alt="" id="BLOGGER_PHOTO_ID_5196693777865182002" border="0" /></a><br /><span style="font-weight: bold; color: rgb(255, 0, 0); font-family: Microsoft Sans Serif;"><span style="color: rgb(51, 51, 51);">Jean-Honoré Fragonard </span><br /></span><span style="font-weight: bold;">The Musical Contest</span><br /><span style="font-size:85%;">c. 1754<br />Oil on canvas, 62 x 74 cm<br />Wallace Collection, London</span><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4SzTP87yH1dNcVL6rWT39De7rDxoK0_f_We6U4N8WHS-PEC1hHA2JKe2kqlrwPOIshCqaaC5M9m2vRpxQ-9LLxoGEYiTkeYm7s-7T1j45kaCVy10WHvlbqQTwaLtUioLNGzmNcbbo1TQ/s1600-h/071garde.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4SzTP87yH1dNcVL6rWT39De7rDxoK0_f_We6U4N8WHS-PEC1hHA2JKe2kqlrwPOIshCqaaC5M9m2vRpxQ-9LLxoGEYiTkeYm7s-7T1j45kaCVy10WHvlbqQTwaLtUioLNGzmNcbbo1TQ/s400/071garde.jpg" alt="" id="BLOGGER_PHOTO_ID_5196693782160149314" border="0" /></a><br /><span style="font-weight: bold;"><span style="color: rgb(51, 51, 51);">Rubens </span><br />Garden of Love</span><br /><span style="font-size:85%;">c. 1633<br />Oil on canvas, 198 x 283 cm<br />Museo del Prado, Madrid</span><br /><br /><br />Autor: Beatriz MoraesA Recepção da Tradição Clássicahttp://www.blogger.com/profile/10201287684111512798noreply@blogger.com0tag:blogger.com,1999:blog-2716950538442133581.post-57192139083516304552008-05-04T17:23:00.000-07:002008-05-05T15:05:36.066-07:00Las Meninas de Picasso: A Explosão da Narrativa.<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWxkhM1DvHWgaCpsRxz9lw-MLg8zJVvtiU5NlFcGvsDs_-6s0MptnUBjDPavdCKClt2pOw7zARclsOHdP_pNFOJ9Q0Yxg4HkdknT2Xvu0KQBEgGDwJo5XjdDMZJGDRSuDEAC08Bl29ySc/s1600-h/meninas_picasso.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWxkhM1DvHWgaCpsRxz9lw-MLg8zJVvtiU5NlFcGvsDs_-6s0MptnUBjDPavdCKClt2pOw7zARclsOHdP_pNFOJ9Q0Yxg4HkdknT2Xvu0KQBEgGDwJo5XjdDMZJGDRSuDEAC08Bl29ySc/s400/meninas_picasso.jpg" alt="" id="BLOGGER_PHOTO_ID_5196687318234368770" border="0" /></a><span style="font-size:100%;"><span style="font-weight: bold;"><br /></span></span><span style="font-weight: bold;font-size:100%;" >Picasso<br />Las Meninas</span><br /><span style="font-size:85%;">1957.<br />Óleo sobre Lienzo. 194 x 260 cm.<br />Museo Picasso. Barcelona.<br /></span><span style="font-size:85%;"><span style="font-weight: bold;font-size:100%;" ><span style="font-family:arial;"></span></span></span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2FAZb3IVCkYuzHK3U9IS8dvNzLJ7AX7-3cDPTBKLZPqb4dBI9N4ug8R8e2EvMF_CTthJLSaoak3Q3L0rJJ5iOEDlcj5-arGZy_fycg6GQLR5CLoX4gAeGg7V-kkmxRYVDbgrI4MowH1M/s1600-h/0801vela.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2FAZb3IVCkYuzHK3U9IS8dvNzLJ7AX7-3cDPTBKLZPqb4dBI9N4ug8R8e2EvMF_CTthJLSaoak3Q3L0rJJ5iOEDlcj5-arGZy_fycg6GQLR5CLoX4gAeGg7V-kkmxRYVDbgrI4MowH1M/s400/0801vela.jpg" alt="" id="BLOGGER_PHOTO_ID_5196687313939401458" border="0" /></a><span style="font-weight: bold;font-size:100%;" >Velázquez<br /><span style="font-family:arial;"></span></span><span style="font-size:85%;"><span style="font-weight: bold;font-size:100%;" ><span style="font-family:arial;"><span style="font-size:100%;">Las Meninas or The Family of Philip IV </span><br /></span></span><span style="font-family:arial;">1656-57</span><br /><span style="font-family:arial;">Oil on Canvas, 318 x 276 cm<br /></span><span style="font-family:arial;">Museo del Prado, Madrid</span><br /><br /></span><span style="font-weight: bold;font-size:100%;" ><span style="font-family:arial;"></span></span><span style="font-weight: bold;font-size:100%;" ><br /></span><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuUYh8GkUQDeQX2if4DghjhImdBUXRJtuwWme75alV8F46EhGTiXmvsIZ7Yp39vXgo0DJmHZm-yg765mW9JTN5VieOgfp-mSlJ2483sHxcAfM-molM1zFygQdyTZbZfJyv7XSe0IqQ6Sc/s1600-h/Les_Demoiselles_d_Avignon.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuUYh8GkUQDeQX2if4DghjhImdBUXRJtuwWme75alV8F46EhGTiXmvsIZ7Yp39vXgo0DJmHZm-yg765mW9JTN5VieOgfp-mSlJ2483sHxcAfM-molM1zFygQdyTZbZfJyv7XSe0IqQ6Sc/s400/Les_Demoiselles_d_Avignon.jpg" alt="" id="BLOGGER_PHOTO_ID_5196687322529336082" border="0" /></a><span style="font-weight: bold;font-size:100%;" ><span style="font-family:arial;">Picasso<br />Les Demoiselles d'Avignon. </span><br /></span><span style=";font-family:arial;font-size:85%;" >1907.<br />243.9 x 233.7 cm<br />MOMA, New York</span><br /><br />Autor: Joana RabeloA Recepção da Tradição Clássicahttp://www.blogger.com/profile/10201287684111512798noreply@blogger.com0tag:blogger.com,1999:blog-2716950538442133581.post-29116664898181504972008-04-28T19:53:00.000-07:002008-05-01T07:06:58.505-07:00Os Retratos de Filósofos de Ribera<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDHHqm7ceCklOTdnBZ6Jep1KzCLyImQzTnRyKcTj7SoSjyxj6IihVltodRHdTcQ2MNp4dTTosKXx8VNM0-DPZGHsMPI5nN5wi38IxKOwGbJBRJASMmJNZy-wH1Sh2HRN_Ac-79wtuW1o8/s1600-h/ribera-democrito-londres-colpart.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDHHqm7ceCklOTdnBZ6Jep1KzCLyImQzTnRyKcTj7SoSjyxj6IihVltodRHdTcQ2MNp4dTTosKXx8VNM0-DPZGHsMPI5nN5wi38IxKOwGbJBRJASMmJNZy-wH1Sh2HRN_Ac-79wtuW1o8/s400/ribera-democrito-londres-colpart.jpg" alt="" id="BLOGGER_PHOTO_ID_5195391844428745394" border="0" /></a><br /><span style="font-weight: bold;">Demócrito</span><br /><span style="font-size:85%;">circa 1630 - 1637<br />Óleo sobre tela.<br />Coleção Particular, Londres.</span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWvJ90DHoVPGWDhgQbyocKFdyqmBNantz3SDVEXiFuVZpDmI5FeoDSE-ddLXtBSglEBW2F3rVH0MdKwe_OdMH0nj1NTF0C13o2WF-NHBhtnNtqK9r8JrHCFo0s-jFaMPaCQgiq6Q3TspQ/s1600-h/archimed.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWvJ90DHoVPGWDhgQbyocKFdyqmBNantz3SDVEXiFuVZpDmI5FeoDSE-ddLXtBSglEBW2F3rVH0MdKwe_OdMH0nj1NTF0C13o2WF-NHBhtnNtqK9r8JrHCFo0s-jFaMPaCQgiq6Q3TspQ/s400/archimed.jpg" alt="" id="BLOGGER_PHOTO_ID_5195387480741972626" border="0" /></a><br /><span style="font-size:100%;"><span style="font-weight: bold;">Demócrito ou Arquimedes?</span> [1]<br /></span><span style="font-size:85%;">1630<br />Museo del Prado, Madrid</span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNA9pjQq5JnUfbnuJ7nOhKV_pW1-BGkk_c9Ec_B3VEMZWy5iZtEChS3uWiPtKlXTPX33i0vPPygE5TTHITejGAo3J11LYpLApS-Gk9vdGRj1UmKEpazMCCfzr7F_80tFZRwUSqM1GYv0g/s1600-h/Ribera.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNA9pjQq5JnUfbnuJ7nOhKV_pW1-BGkk_c9Ec_B3VEMZWy5iZtEChS3uWiPtKlXTPX33i0vPPygE5TTHITejGAo3J11LYpLApS-Gk9vdGRj1UmKEpazMCCfzr7F_80tFZRwUSqM1GYv0g/s400/Ribera.jpg" alt="" id="BLOGGER_PHOTO_ID_5194496180538772082" border="0" /></a><br /><span style=";font-family:Arial;font-size:85%;" ><span style="font-weight: bold;font-size:100%;" >Heráclito</span><b><br /> </b>1630<br /> Óleo sobre tela, 118.5 x 93.4 cm<br />Museo de Bellas Artes de Valencia.<br /><br /><br /></span><br /><span style=";font-family:Arial;font-size:85%;" ><b><span style="font-size:100%;"></span></b><br /></span><br /><span style="font-size:78%;"><span style="font-family:arial;">[1]. "</span></span><span style=";font-family:Times New Roman;font-size:100%;" ><span style="font-size:78%;"><span style="font-style: italic;font-family:arial;" >Respecto a la identificación del personaje representado, citado siempre en las referencias más antiguas, simplemente como «un filósofo», se han propuesto diversos nombres. En el Prado se le ha llamado tradicionalmente </span><em style="font-family: arial; font-style: italic;">Arquímedes</em><span style="font-style: italic;font-family:arial;" >, sin duda por la presencia del compás. P. de Madrazo lo describe como «el famoso geómetra de Siracusa... con el compás en la mano derecha y unos papeles en la izquierda». Tormo y Fitz Darby lo identificaron con </span><em style="font-family: arial; font-style: italic;">Demócrito</em><span style="font-family:arial;"><span style="font-style: italic;">, insistiendo en su aspecto sonriente, tal como la iconografía tradicional exige, y así ha sido recogido luego por O. Ferrari en su estudio sobre la iconografía de los filósofos antiguos.</span>" </span><span style="font-family:arial;">Extraído da página do <a href="http://cvc.cervantes.es/mundo_virtual/sala1/45.htm">Centro Virtual Cervantes</a>, indicado pelo <a href="http://www.cult.gva.es/mbav/">Museo de Bellas Artes de Valencia</a> .<br /><br /><span style="font-size:85%;">Autoras: Maria Berbara, Leidiane Carvalho e Ana Resende.<br /></span><br /></span></span></span>A Recepção da Tradição Clássicahttp://www.blogger.com/profile/10201287684111512798noreply@blogger.com0tag:blogger.com,1999:blog-2716950538442133581.post-43820086294357606482008-04-24T18:52:00.000-07:002008-04-24T19:44:46.923-07:00Retrato de Heráclito como um Michelangelo Michelangiolesco na “Escola de Atenas” de Rafael."<strong>A Escola de Atenas</strong>" - Rafael<br />Afresco, 1509 - Stanza della Segnatura, Palazzi Pontifici - Vaticano.<br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnZb3_QaTR40hj0_ykGq57AaUOHDGqlZvR2OVfAgx5xciD-UwGbb84ebbdiyP-EewaHpQ2B14AfRlrdIvMkye6riVgX1L3xw4tGPl8r_cdnx3OE73o8XYQjWtt1DtR_ELAZ6afYBqT-NY/s1600-h/school+of+athens.jpg"><img id="BLOGGER_PHOTO_ID_5193002932079102466" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnZb3_QaTR40hj0_ykGq57AaUOHDGqlZvR2OVfAgx5xciD-UwGbb84ebbdiyP-EewaHpQ2B14AfRlrdIvMkye6riVgX1L3xw4tGPl8r_cdnx3OE73o8XYQjWtt1DtR_ELAZ6afYBqT-NY/s400/school+of+athens.jpg" border="0" /></a><br /><div align="justify"><span style="color:#000000;">O afresco de Rafael com a personagem do suposto Michelangelo Michelangiolesco, a quem Campos descreve como o <em>pensieroso</em></span><a title="" style="mso-footnote-id: ftn1" href="http://www.blogger.com/post-create.g?blogID=2716950538442133581#_ftn1" name="_ftnref1"><span style="color:#666666;">[1]</span></a><span style="color:#000000;"> , o homem sentado, só, à frente da cena, que apóia a cabeça com uma mão e, com a outra mantém a pena suspensa enquanto desbasta seus pensamentos para que deles nasça a frase que se juntará aos seus escritos. </span></div><br /><br />“<strong>Força e Temperança com Seis Heróis da Antigüidade</strong>” - Perugino<br />Afresco, 1497, Collegio del Cambio - Perugia<br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLbB-UkhsFmnF5PsCET_Gf1PVlkxKeH49_libyb7EvrtRiW2sZP2DyyRIHtSdhMPHGxvT7UQYC9cCmEJ2vk_9ICuMXnQisveq8tZH5-tY9c1R9vGv4O7z7u0wEdldDdrWOakw-kwiD0m8/s1600-h/Fortitude+and+Temperance+with+Six+Antique+Heroes_Perugino.jpg"><img id="BLOGGER_PHOTO_ID_5193002936374069778" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLbB-UkhsFmnF5PsCET_Gf1PVlkxKeH49_libyb7EvrtRiW2sZP2DyyRIHtSdhMPHGxvT7UQYC9cCmEJ2vk_9ICuMXnQisveq8tZH5-tY9c1R9vGv4O7z7u0wEdldDdrWOakw-kwiD0m8/s400/Fortitude+and+Temperance+with+Six+Antique+Heroes_Perugino.jpg" border="0" /></a><br /><div align="justify"><br /><span style="color:#000000;">Obra que pode ter servido de referência a Rafael em sua composição. Representa “Homens Famosos” anteriores à “Escola”, à qual se pode perceber que o pintor fez referências. </span></div><br /><div align="justify"></div><div align="justify">“<strong>Aparição do Anjo a Zacarias</strong>” - Ghirlandaio</div><div align="justify">Afresco, 1486 – 1490, Capella Tornabuoni, Santa Maria Novella - Florença</div><br /><div align="justify"></div><div align="justify"></div><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2McVWwxWh7UP-LVO_emqMoi7aeQL_VpDTB2ZnJ-RMpcgae6AQjtgfo1vOS2iEaYe_czjjwIE78U_cheJL6_lrXom4TwEJtqKA6QyF3W8GH0m4D1naP5h-xVV8Dzz6j7_gku2oEwJbcxc/s1600-h/Angel+Appearing+to+Zacharias_Ghirlandaio.jpg"><img id="BLOGGER_PHOTO_ID_5192997833952922066" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2McVWwxWh7UP-LVO_emqMoi7aeQL_VpDTB2ZnJ-RMpcgae6AQjtgfo1vOS2iEaYe_czjjwIE78U_cheJL6_lrXom4TwEJtqKA6QyF3W8GH0m4D1naP5h-xVV8Dzz6j7_gku2oEwJbcxc/s400/Angel+Appearing+to+Zacharias_Ghirlandaio.jpg" border="0" /></a><br /><p align="justify"><span style="color:#000000;">Afresco que mantém relações de composição com a Escola de Atenas de Rafael, observando-se a presença de referências deste à obra anterior. </span></p><br />"<strong>Heráclito e Demócrito</strong>" - Donato Bramante<br />1477 - Afresco transferido para tela. Pinacoteca di Brera, Milão.<br /><br /><br /><p align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZW6EmuWKP5LAQ91r9v9C4DxQ-mTKdobTIsRoNpxD9Q5ZQfOMnHHFLcHAy_PE45wtPFXl478Za3CNe77bq-WWoEKsrRVdHWFxqQh1lyzZJ8iqYMXDZoltuWCFIE35FkzJKTEdRT1dQT2M/s1600-h/Bramante.jpg"><img id="BLOGGER_PHOTO_ID_5192997838247889378" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZW6EmuWKP5LAQ91r9v9C4DxQ-mTKdobTIsRoNpxD9Q5ZQfOMnHHFLcHAy_PE45wtPFXl478Za3CNe77bq-WWoEKsrRVdHWFxqQh1lyzZJ8iqYMXDZoltuWCFIE35FkzJKTEdRT1dQT2M/s400/Bramante.jpg" border="0" /></a><br /><span style="color:#000000;">A fim de entender a relação criada por Rafael na comparação Heráclito - Michelangelo, o afresco de “Heráclito e Demócrito” de Bramante tem sido fonte essencial, assim como textos correlatos.<br /></span><br /><br /><br /><a title="" style="mso-footnote-id: ftn1" href="http://www.blogger.com/post-create.g?blogID=2716950538442133581#_ftnref1" name="_ftn1"><span style="font-size:85%;">[1]</span></a><span style="font-size:85%;"> CAMPOS, D. R. de. Raffaello e Michelangelo: Studi di Storia e d’Arte. Roma, 1946. Dott G. Bardi Editore. Pg 83.<br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_C9KbQlWglqho4K7w9armcQDAAgnLK6WHvosxSk3XmsJ8fJS72lkxXjDbtJdoF7ky07doRooJ_WrJ6vDpzGiGvNZNKWU74c4k1khL967OYXtQ2p3h_Dy-lgu6yWRlXE0l3X5mrpj4_XU/s1600-h/school+of+athens.jpg"></a></p><p align="right">Autor: Leidiane Carvalho</p><p><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOUchy9PdBYIUDppdl8diocOVsKDqfr2u9gYj4V-XCY4z3y-AUzmqKqnSgEhtpvsPt60NqZiZCVBPEUpwN-MGobI5IF6gnjsCZMGmygCHM1Y_6i1iywJiXgVDh0lJmIrJouhgPtnPHAGw/s1600-h/Fortitude+and+Temperance+with+Six+Antique+Heroes_Perugino.jpg"></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz6St71UsfnBVV5IzdBr1OROL_FutJrR-ChjTOD_nXQ6NrB6YyH1N926j2x601fM7cN4GzsVt3-1ZftAJK3neNdiBsQ2Gk96KIPPj4YFLMoD7J6MveLapCWBCiddlaNf8C07hp6O5sB6c/s1600-h/Angel+Appearing+to+Zacharias_Ghirlandaio.jpg"></a><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC5YxTfQpuwEV7bzMRBHJMtmXxm-yb0hik_NpI_GhvaokBLHH_R1A0PMjyNJbWM4R0Gpo5qHtNTNn9s5fCWgTa0-CtLEQ0N8NYapITXSilTIvs10FDRbyFzmO-Dy2PKrtDeReiREjm_mU/s1600-h/Bramante.jpg"></a><br /><br /><br /><br /></p>A Recepção da Tradição Clássicahttp://www.blogger.com/profile/10201287684111512798noreply@blogger.com5