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Synopsis

In this critical overview of the work of Farnese de Andrade—an artist from Minas Gerais—Arlindo Daibert examines the origins and sources of production that ceaselessly attempt to combine opposing elements. In his text, Daibert pays particular attention to the representation of the female figure in the artist’s work. Indeed, he dedicates much of the essay to identifying the female archetypes present with increasing frequency in Farnese de Andrade’s art. Daibert argues that there are three primordial female models in de Andrade’s assemblages: the mother--the woman who procreates, the Annunciation; Alice, who represents multiplicity and “the unconscious side of the feminine universe”; and “the tied woman,” which the author explains, represents “the protagonist of the small universe of mediocre domesticity

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Synopsis

Revisão crítica da obra de Farnese de Andrade, na qual Arlindo Daibert procura mostrar as origens do artista mineiro e os principais aspectos que alimentam sua produção, como a tentativa constante de aproximar elementos opostos. Daibert enfatiza a questão da representação da mulher, dedicando a maior parte do texto a traçar os arquétipos femininos mais freqüentes na obra de Farnese. Segundo Daibert seria possível encontrar três modelos primordiais de mulheres nas assemblages de Andrade: a mãe, mulher procriadora, a Anunciação; Alice, que representaria a questão da multiplicidade e o "lado inconsciente do universo feminino"; e "a mulher acorrentada" que, na síntese do autor, corresponderia às "protagonistas do universo pequeno da domesticidade medíocre".

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Annotations

This analysis of Farnese de Andrade’s art is based on close observation of works included in an exhibition at the Galeria São Paulo in 1985. The text forms part of a collection of reflections by Daibert from those years, published posthumously in the volume Cadernos de Escritos (1995), coordinated by Julio Castañón Guimarães.

 

Draftsman, printmaker, painter, and illustrator Arlindo Daibert (1952–93) first gained recognition in 1970 for fantastical drawings that employ a technique that places emphasis on detail. The artist envisions those strikingly refined compositions in terms of “the feminine.” Rich in eroticism and symbolism, his works establish a constant dialogue between image and text. Daibert contributed illustrations and poems to the literary and art supplements of newspapers such as Diário Mercantil. Exhibitions of series of his drawings on specific themes include Alicia no país das maravilhas (1978) and Macunaima de Andrade (1982) with illustrations of the 1926 masterpiece by Mário de Andrade. He participated in the Largo do Ó printmaking workshop in Tiradentes, Minas Gerais in 1984. That same year, he joined the art faculty at the Universidade Federal de Juiz de Fora (Minas Gerais). Daibert died before completing O retrato do artista, which dealt with canonical works of art.

 

For a text by Daibert in which he defends “the feminine” in art, see “Sur la nature des femmes” [doc. no. 1111063].

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Annotations

Essa análise da obra de Farnese de Andrade nasce da observação das obras do artista, apresentadas em exposição na Galeria São Paulo, em 1985. O texto faz parte de uma coletânea de reflexões do artista Arlindo Daibert, que morreu em 1993. A publicação foi organizada postumamente por Julio Castañon Guimarães.

 

Ver também:

DAIBERT, Arlindo. Sur La nature des femmes. In: ______. Caderno de escritos. Rio de Janeiro: Sette Letras, 1995, p. 64-65.

 

d4- Gênero

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Researcher
Equipe Brasil: Maria Hirszman
Team
FAPESP, Sao Paulo, Brazil
Credit
Reproduzido com o consentimiento de Eveline Amaral, Minas Gerais, Brasil
Location
Acervo Pessoal Ana Maria Belluzzo