Public
Art in Paraíba in the beginning of the 20th Century
Madalena F. P. Zaccara
and Darlene Araújo
ZACCARA, Madalena F. P.; ARAÚJO, Darlene. Public Art in Paraíba in the beginning of the 20th Century. 19&20, Rio de Janeiro, v. IV, issue 1, jan. 2008. Acessible in: <http://www.dezenovevinte.net/obras/monumento_pb_en.htm> [Português]
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Some
consideration on the Public Art
1.
The
human groupment socially organized, that has in the city its
most recent expression is the national scenario to the collective fruition of
art. From the standing point of view that the public art is the collection of
work of arts belonging to a determined community we will find its first
manifestations in the environment that the Paleolithic man used: the cave. Is
there, therefore, that are registered the firsts forms of representation of the
activity that we can consider as art destined to the collectivity. In the
cave-sanctuary, in the collective morada or in the
strategic shelters of the hunters, signs specified through the social common
habit in expressions which meaning remains still on the ground of arqueologic hypothesis (MUNFORD, Lewis, 2000)
2.
To
many the contemporaneous notion of public art is connected still to the
renascence reality. Conceived as monument to fill the spatial clarification
that defined the urban transformations of the period, it connected itself to
the power represented by the prince-mecenas and his
wish to perfect an urban space that was the reflection of this power. These
monuments represented him in his glory or the heroes that served this universe
of wealthy merchants and were, normally, designed and executed by consecrates
artists, which granted prestige to the renascence urban nucleus. The
French Revolution, later, held the reins of the absolutist power and interfered
in the artistic production of the country and in its international reflection.
The bourgeoisie, of rigid and rigorous moral, taking the power, started to
demand a sober art in oposition to the capriccios and
aristocratic aspect of the baroque and rococo style. That was the Century of
Light, sustained in rationality and scientific spirit. It was intended then,
to impose a style based on the cult of contemporaneous heroes at the same
time that grew the interest and admiration for the classical antiquity with the
diggings done in Pompey, Herculano, Paestum and
Athens. The public art passou to be considered,
inside those circumstances, as an educative tool to the people.
3.
In
Brazil, the Imperial Academy of Fine Arts spread initially in Rio de Janeiro and,
posteriormente, in the rest of the country this
neoclassical conception that lasts until today in celebrative monuments
and busts that constitutes a great part of our public collection. Vanguard
movements happened in Europe and it's reflection
started to appear in the Brazilian scenario, in Paraiba, modernization meant to
see its colonial aspect by a neoclassical and eclectic architecture. Squares
and parks surrounded by sculptures honoring public men were the expression of
the urban transformations that caracterizavam the
period. The state of Paraiba which, in the 30's went through a period of
confront between the rural aristocracy and the liberalism and that had in the
local scenario it's biggest representative the
destiny murdered president Joao Pessoa, used the neoclassical sources to
modernize its capital with the construction of monuments in that style.
Therefore, spatial settings were renewed through commemoratives monuments to
the contemporaneous heroes that had in the figure of Joao Pessoa their biggest
symbol.
The
city in the 30's: president Joao Pessoa
4.
The
30's represented a lot to Brazil and to Paraiba. It was a period of meaningful
happenings, of political fights and change of power. The state of Paraiba became
restless with the dispute between the rural aristocracy that held the
economical and political control then and the liberals that ambitioned and
had as their biggest symbol the president Joao Pessoa, nephew of Epitacio Pessoa and representative of the ascension of a
new class. During the dispute it happen the death of the governor of Paraiba in
the city of Recife in August 26th of 1930 by gunshots done by his
political adversary Joao Dantas, member of a
traditional rural family of Paraiba. This was one of the reasons that
contributed to the deflagration of the revolution of 1930 that resulted in the
end of the Old Republic and the beginning of the Second Republic.
5.
In
the state of Paraiba the reflection of the president murderer, representative
and symbol of the new political forces emerging of eminent urban
characteristics, provoked conflicts in the street, depredacoes
and pursuits por vezes cruentas. The chance of power resulted also in the change
of the name of the capital of the state that was called then Parahyba do Norte to Joao Pessoa, in honor to the dead
governor. The state flag was also changed, now showing the word "Nego"(which means to deny).
6.
It
was also during this decade that Paraiba has gone through transformations in
its urban configuration. During the government of Joao Pessoa, several
buildings were reformed, squares were planned and a new road system was
created, aiming a new reading of the urbe inspired in
the deeds of Haussman and his urban conception in the
Paris of 19th century. After the death of the federal interventor
president, Antenor Navarro gave continuity to the
unfinished works of the previous administration and started new ones. In that
period occurred the arrival of several professionals from other states, among
them the urbanist Nestor Figueiredo
that was charged of the remodeling and development plan of the city of Joao
Pessoa and Cabedelo, as well as the one from the Praca Joao Pessoa, place were a monument in honor of the
dead president would be inserted named: Altar da
Patria [Figure 1].
Ambience of the monument Altar da Patria: the Praça João Pessoa
7.
The
relevance of the Praca Joao Pessoa to the homonym city goes back to its colonization. Initially the area was a bear land
in front of an architectonic complex built by the Jesuits (church, residence
and school) named Largo do Colegio. In the 18th
century, when the members of the order were expelled of the city, their
installation begun to serve the Government Palace and the Liceu
of Paraiba. The space went through a few interventions, the first being in the
19th century when the land was transformed in a public walking area (receiving
a townscape treatment, besides the installation of benches, lighting, bandstand
and an iron fence) in the late 19th century, becoming then the public space of
most importance to the urbe and leisure point of the
society at the time [Figure 2].
8.
Later
on, in the beginning of the 20th century the edification corresponding to the
facility of the Government Palace went through reforms receiving elements of
several architectonic periods inside of a modern perspective of ecletismo then in fashion. Other buildings were built
around the square: the Normal School, in neoclassical style and the building of
the state press, The Union, with eclectic’s aspects inserting a monumental
contextualization in the former bear land.
9.
Later
the mentioned square, was baptized as Praca Felizardo Toscano. In its third and last reform, performed in the
30's by Nestor de Figueiredo, it acquired a new
setting in a radial form and has its name changed, this time to honor the dead
liberal heroes. Is with this name that it remains until nowadays.
10.
In
the actual time the Praca Joao Pessoa gathers in its
surrounding the Government Palace, the Cour of Law
and the Legislative Assembly. It’s, sometimes, called Praca
of the Three Powers, although it is not the official denomination. It still
constitutes a point of meeting for students, scholars and public in
general. It is in this environment that the monument Altar da Patria is inserted, located in its center and
installed in September 8th of 1933.
Considerations
about the transformations of the sculpture in the period
11.
If
in the late 19th century, in Europe, the pictorial perception altered itself
deeply, the sculpture showed, in parallel, a much more conservative spirit,
observing a naturalist tradition with monumental aspects, especially when
focused on public spaces.
12.
In
the first half of the 19th century, the idealistic concepts defined by JJ
Winckelmann imposed themselves being translated mostly through the work of two
artists: Antonio Canova (1757-1844) and Bestel Thorwaldsen (1770-1844), forming an international
neoclassical sculptural trend that was followed by the romantism
contained in the work of François Rude (1784-1855) and Antoine-Louis Bayre (1796-1875). This typology of the sculpture, touched
by allegoric feelings or Romanesque content, satisfied the commanding
conservative taste and was easily absorbed by the possibility of public square
works.
13.
In
the beginning of the 20th century the European sculpture searched for methods
of expression that was in agreement with the modern mentalidade
transformed by the technology. In Brazil, the first’s modernist’s sculptural
manifestations happened in the work of artists such as Victor Brecheret (1894-1955) in the 20's. The
neoclassical and romantic formulas, however, were still preponderates in the
country and especially in the Northeast, a country made of economical
contrasts. Therefore, a good time was needed in order to happen a certain proximity with the modern vocabulary. It's
important to remember that the city of Sao Paulo, industrialized, opposed
itself, then, radically against a still feudal Northeast were the artistically
sleepiness obeyed the traditionalist orientations. On the other hand, the
manifestations of a modernity in process of update with the international
context, with the exception of a few marking events in the neighboring city of
Recife, lived a marginal reality without any official or popular support.
At most they were ignored by the majority of the population like it is the case
of the "Silent Club", with a surrealist philosophy and praxis, that happened still in the 50's in Paraiba and never
managed to get in at least in the broadcast news in the artistic local
events. Its actions restrained itselves to the
manifestations of its few members, olympically
ignored by the population. It was inside this artistically conservative view,
despite the political reformists proposals of the liberalism, that was
conceived the sculpture known as O Altar da
Patria, subject of out study.
Conception
of the monument: the artist and the work
14.
It
was through contest, elaborated by the public administration of Paraiba,
that Humberto Cozzo, his artistic name,
sculpture graduated by the Arts and Crafts Liceu
of Sao Paulo and that featured himself in the conception of other
monuments in the region and the southeast of the country, won
the concurrence to the execution of the sculpture known as O Altar
da Patria, destined to the Praca Joao Pessoa.
15.
The
sculptor, who was disciple of Amadeu Zani, had already approached the same theme in other occasions performing to
the city of Campina Grande, in Paraiba, a sculpture honoring Joao Pessoa and
in Rio de Janeiro, in his mausoleum located at Saint John Baptis's
cemetery, a funeral sculpture to the dead president. His project, expressed
through a maquete, pleased the current president Antenor Navarro, but went through, subsequently by the
approval of a technical commission composed by the academic stuff of the
Polytechnic School of Rio de Janeiro, that approved it justifying that it was
the conception that most approached the demanding of the contest's
edictal.
16.
The
execution of the piece obeyed the specifications specified in the contests. The
granite, of light color, used as base for bronze sculptures, came from a block
of dimensions necessary to avoid joints. The execution of the models in bronze
was supervised by a commission named to follow the progress of the work since
the process of casting to the placing of the bronze in the molds and, finally,
its installation in the place to which it was destined.
17.
The
monument is composed by allegoric statuaries groups, symmetrical and in
monumental scale, executed in bronze and settled on a rectangular granite base,
with dimensions of 10,00 x 14,00 meters, totalizing a
height of ten meters. In front of the Government Palace, named then as
Redemption Palace, is located the figure of Joao Pessoa with attitude described
in the newspapers of that time as "serene and natural" wearing the
clothes of his usual. In the east face it is placed an allegoric figure holding
the flag of Paraiba and with the right arm distended, in sign of protest [Figure 3]. Both sculptures height is about 2,20 meters. Other groups, of bigger
dimensions turns themselves to the north and south. With views to the
south, three figures symbolize the "action" [Figure 4]. To represent it, a winged figure, a genny, guides three individuals of manly aspect
that sustains an anvil and represent the labor and activity. In the
north side, tow fighters also guided by an allegoric figure symbolize the
civism [Figure 5].
18.
The
intention of the complex is that the three groups around the granite column
symbols the courage, civism and the haughtiness of the president in its
perpetuation sculptural to the memory and history of Paraiba. The monument was
inaugurated in September 8th of 1933 with a speech of José Américo
de Almeida, administration secretary of Joao Pessoa and, later, minister of the
Republic in the Vargas government.
The
city and the monument
19.
The
contemporaneous urban space, based on the model imposed by the bourgeoisie,
that had in Haussman its idealizer supported by the
vast powers granted by Napoleon the Third, implicates in the superficial
relationship between its users generated by the indifference and the anonymity
resulting of the new populational density and the
morphological aspects of this kind of city. The social and cultural
stratification each time more contundent in the urban
nucleus and the violence generated by the contrast constitutes in agents of the
progressive aggravation of the contemporaneous isolation in relation to the
public space. The city and its mutations turned each time more difficult the
contact between the user of the urban space with his surroundings and with the
art produced to the enjoyment of the collectivity.
20.
In
Brazil, the situation is aggravated by the abandon of the historical nucleus
associated with a continuous process of migration to the areas considered more
noble and most of the time with most recent occupation, nobility generated by
real state speculation. Few are the neighborhoods or
public areas that preserve their initial aspects and escape the voracity of the market and the favelização
of the abandoned areas. Paraiba is not the exception. However the mentioned
square and its sculptural group escape until nowadays the depredation,
vandalism and even the forgetfulness. It is still a point of reference of an
urban center each time more replaced by the equipments neighbors of the sea
cost.
21.
The
square remains a space of permanent utility to part of the population. Its
privileged location makes it a stage of manifestations and public acts
throughout its history. The monument and its allegoric aspects insert
themselves, therefore, in a universe of enjoyment that does not opposes its
conception: converse with it. The Altar da Patria
propitiate, still, a historical and artistic information to the most well
informed flaneur and symbolizes, in Paribas, the
resistance to the destruction or forgetfulness of a monument that expresses the
aesthetic vocabulary accepted by the city in the early 20th century [Figure 6].
References
A
cidade recebeu, ontem, triunfalmente, o chefe do Govêrno
Provisório. A União. Paraíba, n. 201 p. 1, September
8, 933.
AGUIAR, Wellington Hermes Vasconcelos de. Cidade de João Pessoa: a memória do tempo. 3°
ed. João Pessoa: FUNESC, 2002.
Amadeu Zani. http://www.niteroiartes.com.br/exibe_artistas.php?idartista=548&opc=1
Seen in 02/13/2008.
BENEVOLO,
Leonardo. História da cidade. São Paulo: Ed. Perspectiva, 2001.
A
Paraíba resgata parte de sua imensa divida para com a memória do seu grande
filho: a inauguração, ontem, do monumento a João Pessoa. A União. Parahyba, n. 202 p. 8 September, 1933.
Humberto Cozzo. http://www.bolsadearte.com/biografias/cozzo.htm
Seen in 12/10/2007.
KRAUS, Rosalind. Caminhos da escultura moderna. São Paulo:
Martins Fontes, 1998.
MELO
José Octavio de Arruda. Historia da Paraíba: Lutas e resistência. João
Pessoa: Editora da UFPB, 2000.
MUNFORD,
Lewis. A cidade na História: suas origens, transformações e
perspectivas. São Paulo: Martins Fontes, 1982.
O culto
da Paraíba ao filho imortal: A inauguração do monumento a João Pessoa. Négo! Ação! Civismo! A União. Paraíba, n. 200, p.
3, September 7, 1933.
O
monumento do estado da Parahyba ao grande Presidente
João Pessóa. Entre os projetos apresentados foi escolhido
o do escultor Humberto Cozzo. A União. Parahyba, n. 237, p. 1,
October 15, 1931.