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Volume IV, issue 1 │ january
2009...............................................................ISSN 1981-030X
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Painter and Critic - Antônio Parreiras in the ‘O Estado de São Paulo’ (1894-1895) by Valéria Salgueiro [Portuguese]
Considerations on History and Art in the manuscripts of Porto-alegre by Paula Ferrari [Portuguese │ French] In the present article, we sought to understand the influence exercised by the Imperial Academy of Fine Arts in the constitution of cultural purposes that can bring keys for the understanding of the writings of Manuel de Araújo Porto-alegre, such as, for instance, the issues of nature and of the drawing understood as language.
Dressing Saints from the Mardi-Gras Procession of the Rio de Janeiro - Physiognomies of Faith by Nancy Regina Mathias Rabelo [Portuguese │ French]
Public Art in Paraíba in the beginning of the twentieth century by Madalena F. P. Zaccara and Darlene Araújo [Portuguese] The Homeland Altar, the monument that is object of our study, pays homage to the former governor of the Paraíba State, João Pessoa, murdered in the decade of 1930. The work is located in the João Pessoa Square, in the State Capital, and constitutes, in the universe of Brazilian public art, an example of sculpture inserted in a spatial context that is accessible to the population and interacts with them as a symbol of freedom of speech.
Arts of progress: A history of the visuality of the 1893’s Chicago Exhibition by Jorge Nassar Fleury da Fonseca [Portuguese]
The ties between the University of Pennsylvania and the brazilian architecture, through the career of George Henry Krug by Fernando Atique [Portuguese] The present article broaches the carrier of George Henry Krug, a Brazilian egress from the University of Pennsylvania, in the United States, in 1876, and working in Brazil from the ends of the nineteenth to the beginning of the twentieth century. By placing together the formation that Krug received in the United States with his professional activities developed in the country, we sought to delineate the steps of his carrier that are shown to be disconnected in the historiography of Brazilian architecture.
Arts and Crafts Lyceum - Its history from 1856 to 1906 by Alba Carneiro Bielinski [Portuguese]
The contribution of the European artistic schools in the teaching of arts in the Brazil of the nineteenth century by Reginaldo da Rocha Leite [Portuguese │ French] The learning of the Brazilian artist in the nineteenth century was made fundamentally by the observation and copy of works of the great European masters, a practice that worked as an essential tool in the assimilation of the history of the configurations and of the types conventionalized by the Occidental artistic tradition.
Facchinetti and the preciosity of landscape painting by Mabeli dos Santos Fernandes [Portuguese │ French]
. The distorted image of photography by André A. Toral. [Portuguese] In the second half of the nineteenth century, to establish specific attributions for painting and photography was a relevant problem. Under the point of view of the Art Academies, it was necessary to define the limits of the new mechanical technique for the production of the image and it was this that Victor Meirelles tried to do in his considerations to the Second National Exhibition, in 1866, which are the base for the discussions of the present article. Ministerial Reports on the Academy of Fine Arts: Imperial Period transcription by Arthur Valle e Camila Dazzi [Portuguese] . |
Art Critic..................................................................
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Between
1893 and 1898, Antônio Parreiras worked in the artistic field of
São Paulo, doing exhibitions and panoramic paintings of rural
properties commissioned by farmers. That was also the occasion in which
the painter maintained relationships with figures of the emerging
Paulista press, who opened room in the newspaper O Estado de São
Paulo so that Parreiras could exercise a new activity – that of
art critic. 
Works
One
of the most significative segments of religious sculptures are the roca
and dressing images, in which the intention of giving the sculptures
the appearance of “lively figurations” reaches one of its
highest levels. Composed generally for the solemn events of the
Christian celebrations of the community, the importance of these images
has been maintained during the nineteenth century, as the exceptional
specimens that we analyze here testify.
To
figurate in the Chicago Universal Exhibition, which happened in 1893,
the then governor of the Pará State, Lauro Sodré,
sponsored the voyage of works developed by eminent figures of the town.
Complementing and transcending the written records that accompanied
them, the maps and photographs then gathered together exhibited to the
world the technology and the modernity that was settled in the North of
Brazil in the ends of the nineteenth century. 
In
the middle of the nineteenth century, the Society for the Promotion of
the Fine Arts – idealized and organized by Francisco Joaquim
Bethencourt da Silva – created the Arts and Crafts Lyceum of the
Rio de Janeiro. The organization added the technical-professional and
artistic education to the elementary education, establishing in a
pioneering way a segment of study that enable the student for the
exercise of a profession in the several branches of the so-called
industrial arts. 
The
manner in which Facchinetti deals with the landscape derives not only
from his Italian artistic formation, but also from his passion for the
representation of the Brazilian atmosphere. With rare ability and
preciosity, the artist found in the genre of landscape a singular
reason to his works, much appreciated by the Fluminense high society
and by the members of the Imperial family.