Colezine Numero 0 (zero) - "Diversão da lontra"
Colezine Number 0 (zero) - "Fun of otter"
por Sérgio Augusto (Serjão) - Projeto Integração*
Como parte das comemorações dos 200 anos da chegada da família real portuguesa ao Brasil, a Pinacoteca do Estado de São Paulo e o Museu Nacional de Belas Artes do Rio de Janeiro promovem esta exposição, que produz uma bela reflexão sobre a produção deste miniaturista, paisagista e pintor oficial de Napoleão, sobretudo traz um novo olhar sobre a vinda ao Brasil da chamada “Missão Artística Francesa”.
Morro de Santo Antonio em 1816- óleo sobre tela, 45 x 56,5cm
Taunay já idoso e desestimulado pela demora na criação da escola isola-se na Cascatinha da Tijuca, afastando-se da Corte, e voltaria à França em 1821, deixando aqui quatro filhos, levando na bagagem a paisagem e a luz tropical que tentara captar; mas sem realizar seu grande sonho: a direção da Academia de Belas Artes Brasileira.
* Sérgio Augusto de Oliveira é arte-educador, artista plástico e membro do grupo coletivo 308
by Sérgio Augusto (Serjão)*
As part of the celebrations of 200 years of the arrival of the Portuguese royal family to Brazil, the Pinacoteca do Estado de Sao Paulo and the National Museum of Fine Arts in Rio de Janeiro promoting this exhibition, which produces a beautiful reflection on the production of this miniaturist, and landscaper Napoleon's official painter, especially brings a new look at the coming to Brazil so-called "Mission Artistic French."
Taunay Why? What is new in relation to the Mission Artistic French? We have something to celebrate? These are some questions that may arise when we refer to this period of history in Brazil. The curated the exhibition is the anthropologist Lília Moritz Schwarcz, which brings the result of eight years of search based on the French artist, and that also generated a book called "The Sun of Brazil."
The fact is that some recent papers have demonstrated that, differently from what we learned in school, the group of French artists was not invited by the Portuguese court, but if self-invited, or that there was a previous initiative by the French artists. At least this is what the exhibition suggests have happened with Taunay, which has already been communicated by letters with Dona Carlota Joaquina and Dom Joao VI prior to the official contact Lebreton, responsible for skippering (or convince) the artists for the trip. This discussion is not new and has been moving along with the unfolding events from the arrival of French, and is important because it may determine the character "official" or "official" group and therefore the intention of cutting in founding the Academy of Fine Arts in Brazil, or even the importance that the Portuguese gave to the arts.
What it indicates that the Portuguese government has noted the coming of the French shortly before the arrival of the group, which "took" the opportunity to give the newly created "the United Kingdom and Portugal Algarve" and the sumptuous luxury common to the kingdoms Europeans, coupled with a production of imagery content moralistic and idealistic. There is no denying the importance that the coming of the group had to Brazilian art, because it opened the neoclassical here, connecting our production to the European way, and contributed to the construction, even if belatedly, a methodology in the teaching of art from of 1826 with the deployment of the Academy.
Taunay already old and tired by the delay in setting up the school isolating itself in Cascatinha da Tijuca, distancing itself from the Court, and back to France in 1821, leaving four children here, bringing in the baggage tropical landscape and the light that will attempt to capture, but without achieving his great dream: the direction of the Brazilian Academy of Fine Arts.
* Sergio Augusto (Serjão) is art educator, visual artist and member of the coletivo 308