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Volume III, issue 4 │ october
2008...............................................................ISSN 1981-030X
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John Ruskin’s thought in the Brazilian cultural debate from the 1920’s by Maria Lucia Bressan Pinheiro [Portuguese] One of the greatest exponents of the romanticism critics to the industrial capitalist society, the British John Ruskin is also considered the main theoretician of preservation in England at the nineteenth-century. In the present text, we explored the resonance of his ideas in the Brazilian cultural panorama of the first decades of the twentieth-century, especially among the followers of the Neocolonial. The Orientalizing Taste in the decorative arts in the epoch of King João VI by Maria João Albuquerque [Portuguese]
Augusto Malta and Marc Ferrez: views on the construction of a metropolis by Ronaldo Entler and Antônio Ribeiro de Oliveira Jr. [Portuguese] To reinforce the argumentation about the need and the efficiency of the urban reform that marked the Rio de Janeiro in the beginning of the twentieth-century, two great projects of photographic documentation were commissioned: one of them to Augusto Malta, who worked directly for the mayor Pereira Passos, and the other to Marc Ferrez, hired by the Central Avenue Building Committee. Each one of these projects was aimed at distinct and complementary functions, which we will try to analyze here. The eighteenth and nineteenth century way-of-life seen from the terrace by Helena Câmara Lacé Brandão and Angela Maria Moreira Martins [Portuguese]  The
view that one can have from the terrace about the Brazilian society of
the nineteenth up to the middle of the twentieth century is that of a
society much more open to the social convivium than that of the
colonial period or, even, that of the present: in face of the
eighteenth and nineteenth century way-of-life, the terrace contradicts
its vocation as a filter and as an observation post to become,
predominantly, an exhibition post.. Manoel de Araujo Porto-Alegre: Speech delivered at the Academy of Fine Arts in 1855, at the occasion of the institution of the classes of mathematics, aesthetics, etc. transcription and commentary by Paula Ferrari [Portuguese]
Royal Women - Fashion and Ways of Living in the Rio of King João VI by Larissa Sousa de Carvalho [Portuguese]  The
text intends to analyze critically the exhibition “Royal Women
- Fashion and Ways of Living in the Rio of King João
VI”, highlighting its main aspects, related especially to the
assemblage and to the content, and how, throughout the fashion, the
exhibition showed history to the visitant under a new look, that of the
feminine universe..
Nicolina Vaz de Assis by Angela Arena [Portuguese]
Between Looks - The romanticist, the naturalist. Voyaging-artists in the Langsdorff Expedition: 1822-1829 by Miguel Luiz Ambrizzi. [Portuguese]
The time of Victor Meirelles and the city of Florianopolis by Sandra Makowiecky [Portuguese] Victor
Meirelles, beyond the famous historical paintings, made also formidable
landscapes and panoramas. That side of his production was manifested
very early, still in his hometown city, Desterro, the present
Florianopolis, whose streets and households had occupied his attention
as an artist. And, although he had lived away from Florianopolis
by the impositions of his career, Meirelles seems to have shown the
city indirectly even on some of his great compositions. Oscar Pereira da Silva and his representations of the feminine by Ana Carolina S. Pereira and Gabriella de Amorim Gen [Portuguese │ French] 
The intention of this paper is to present the life and the works of
Oscar Pereira da Silva and to analyze in more detail the way in which
he represented the feminine, in some of his most known paintings, as
Roman Slave, Odalisque and Delilah and Samson.
The woman represents for the artist sometimes the role of the object of
admiration, other times the role of a frightening being, an embodiment
of the femme fatale type.Santa Helena Group by Elza Ajzenberg [Portuguese] A poorly theoretical and much practical art, based in the direct vision of the natural and human environment, had developed widely in Brazil since the years 1930’s. The several groups that emerged then were relevant not only to the trajectory of modern art, but also to the social conquests of the artistic class. Among those groups, one of the most consistent was the Saint Helen, which we will introduce here.
Brazilian Melancholia: The watercolor Black tattooed selling cashew by Debret by Leila Danziger [Portuguese]
Faith and Modernity: Architecture and Art in a Church in São Paulo by Flávia Rudge Ramos [Portuguese] Faith and modernity could seem contradictory. However, at the end of the decade of 1930, a group of artists of Italian descent - the architect Leopoldo Pettini, the painter Fulvio Pennacchi and the sculptor Galileo Emendabili - overcame the prejudices and conciliated tradition and innovation to create in São Paulo the Church of Our Lady of Peace. Fancy Ball, by Rodolpho Chambelland: The figuration of frenzy by Arthur Valle [Portuguese]
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Primary Sources
J.
M. Rugendas, Hercule Florence and Aimé-Adrien Taunay, artists
from the scientific expedition organized by the Baron Langsdorff and
heirs of traditional concepts of art theory, worked in Brazil also
under other orientations, like the totalizing and interactive view of
landscape championed by Alexander von Humboldt, according to which the
voyaging-artist’s sensibility and reason should act out under
strict collaboration.
In Black tattooed selling cashew (1827), Debret seems to make reference to
the engraving Melencolia I, by Dürer. But this mention to the
German work is done through the deflation of its allegorical content.
Besides that, the thickened space of Dürer’s engraving gives
place, in the work of Debret, to a space marked by the signs of
deflation and of distance and by a sad sensuality, present on the
exposed body of the Afro-Brazilian descendant and in the
artifacts that are placed around her. 
Fancy Ball