{"id":197158,"date":"2015-07-15T18:52:40","date_gmt":"2015-07-15T21:52:40","guid":{"rendered":"http:\/\/revistapesquisa.fapesp.br\/?p=197158"},"modified":"2015-09-11T19:04:23","modified_gmt":"2015-09-11T22:04:23","slug":"under-the-cloak-of-invisibility","status":"publish","type":"post","link":"https:\/\/revistapesquisa.fapesp.br\/en\/under-the-cloak-of-invisibility\/","title":{"rendered":"Under the cloak of invisibility"},"content":{"rendered":"
\"Couer

Collection at the Pinacoteca of S\u00e3o Paulo \/ Reproduction Isabella Matheus<\/span>Couer meurtri<\/em> (c. 1913), by Nicota Bayeux (1876-1923).\u00a0Oil on canvasCollection at the Pinacoteca of S\u00e3o Paulo \/ Reproduction Isabella Matheus<\/span><\/p><\/div>\n

Art history repeatedly hails the protagonism of Brazilian modernists Anita Malfatti and Tarsila do Amaral as the triumphal entry of women onto the Brazilian art scene.\u00a0 But a simple step back in time would suffice to realize that the richer and more complex female presence in the fine arts came earlier.\u00a0 The exhibit Mulheres artistas: as pioneiras (1880-1930) <\/em>(Women Artists: the Pioneers (1880-1930), which runs through September 6, 2015 at the Pinacoteca of S\u00e3o Paulo, shows a powerful albeit marginal female presence in Brazilian art at the turn of the19th century.<\/p>\n

The exhibition includes nearly 50 works, among them drawings, paintings and sculptures, by 21 artists selected from various public and private collections as a way of showcasing works by female artists for public viewing.\u00a0 Corresponding to the lines of research pursued by the curators\u2014the presence of women in 19th<\/sup> century Brazilian art, in the case of Ana Paula Cavalcanti Simioni, and academic teaching, in the case of Elaine Dias\u2014, the selection deals with two core issues: incorporating these artists into the systems of learning that are part of the academic tradition itself, and the relationship their production has with regard to the various genres of art.<\/p>\n

Studying the artistic production of Brazilian female artists at the turn of the 19th<\/sup> century is no easy task however.\u00a0 Besides the dearth of material and disinterest from the historical perspective, the few artists who dared tread the path of professionalism were long hidden behind a cloak of invisibility, relegated, at best, to the title of talented \u201camateurs.\u201d\u00a0 Restrictions on the entry of women into the profession were gradually overcome by pioneers the likes of Abigail Andrade, Julieta de Fran\u00e7a and Georgina de Albuquerque through a combination of personal talent and proximity to important male figures of the time, who ended up franchising their path to the professional realm of art.<\/p>\n

\"Nude

Cultural and Artistic Collection of the S\u00e3o Paulo Governor\u2019s Mansion <\/span>Nude study<\/em> (1921), by Tarsila do Amaral (1886-1973).\u00a0Oil on cardboardCultural and Artistic Collection of the S\u00e3o Paulo Governor\u2019s Mansion <\/span><\/p><\/div>\n

Women only began to gain access to the National School of Fine Arts beginning in 1892.\u00a0 And studies with a live model \u2013 essential for developing an understanding of anatomy \u2013 were therefore rather difficult since they were run by the institution and often restricted to separate male-only sessions.\u00a0 When such studies were possible, the male models had to wear a loincloth as seen in drawings such as those by Angelina Agostini, Dinor\u00e1 de Azevedo and Julieta de Fran\u00e7a, displayed together in the first exhibition hall.\u00a0 The second and last exhibition halls are dedicated to showing the versatility of the genres that appear in their works, such as landscapes, portraits, still life (especially flowers) and even sculptures.\u00a0 Most noticeably missing are historical paintings, which constitute the largest of genres, but one nearly off limits to female artists.\u00a0 This gap, according to the curators, is due to the very small number of works in this form done by women in Brazil.<\/p>\n

\u201cWe wanted to demonstrate how they successfully and skillfully took control and became fluent in the languages of the repertoires and academic methods,\u201d explains Ana Paula Simioni, a professor in the Institute of Brazilian Studies at the University of S\u00e3o Paulo (IEB-USP).\u00a0 \u201cIt\u2019s interesting to show how closely they corresponded to what it was they were denied for so long,\u201d adds Elaine Dias, a professor of art history at the Guarulhos campus of the Federal University of S\u00e3o Paulo.\u00a0 She suggests placing Julieta de Fran\u00e7a\u2019s study of an old man near that of Almeida J\u00fanior\u2019s male nude, a work owned by the Pinacoteca on display in an adjoining hall.<\/p>\n

Such a comparison exemplifies one of the merits of the Women Artists exhibit, its addition to the museum\u2019s collection suggesting an approach that complements the museum layout and expands possible interpretations of the collection.\u00a0 \u201cOur objective is to open paths to research, look at what is being produced in art history in Brazil and further the narrative imparted by the Pinacoteca\u2019s collection,\u201d explains Fernanda Pitta, a museum representative on the curatorial staff.<\/p>\n","protected":false},"excerpt":{"rendered":"Exhibition shows Brazil\u2019s female artists from the 19th and 20th centuries","protected":false},"author":484,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[154],"tags":[241,204],"coauthors":[1250],"class_list":["post-197158","post","type-post","status-publish","format-standard","hentry","category-arts","tag-history","tag-visual-arts"],"acf":[],"_links":{"self":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/posts\/197158","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/users\/484"}],"replies":[{"embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/comments?post=197158"}],"version-history":[{"count":0,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/posts\/197158\/revisions"}],"wp:attachment":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/media?parent=197158"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/categories?post=197158"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/tags?post=197158"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/coauthors?post=197158"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}