Art In Brazil

In the sixteen century slavery was on the rise in Brazil. Indigenous people were made slaves in earlier stages of slavery and it was them who carried the weight of labor for the Portuguese’s empire. The indigenous slaves faced same abused as the Africans slaves and the indigenous were first one to grow sugar cans in the area of Bahia. Despite this similarity, the historical narratives about indigenous slaves is different than the Africans. There was a rapid increase in Africans enslavement in the late nineteen century. Brazilians slave story is different in that it exemplifies the same self-serving purpose, leading to the exploitation of labor, yet it is very different with the Portuguese have sexual relation with the indigenous women for racialized hierarches. This ultimately led to a legally supported mestiza with natives. Even though the story regarding the natives’ enslavement demonstrated mistreatment at a high degree but

the roles of those two important races in America of the time. The painting is related to the time of slavery (1619-1865) and the unequal positions between the Negros and whites. Finally, I have observed that the unknown painter detailed the whites’ men face very well, yet the black men and woman’s face appears faceless or without identification. This is a representation of the European view towards Negros as a uniform object or animal.

Her exhibit is organized by Iria Candela, Estrellita B. Brodsky Curator of Latin American Art in the Department of Modern and Contemporary Art at The Met Breuer. Her exhibit was created mostly on the grounds of the Daniel and Estrellita Brodsky Foundation and the Garcia Family Foundation. Many of her creation were done at the time she was living Brazil for a long time. Her creations are brought from the Brazilian culture all the way back to America, especially in the 1990s. Her work wasn’t just in forms of paint, but also in forms of sculptures, print, performance, installation and

In her article, anthropologist Doreen Gordon draws on ethnographic research to discuss the ways in which the perception of beauty among middle-class women stimulates social inequalities in Brazil. This article is relevant to my research topic because Gordon explores the main reason as to why black middle-class women engage in cosmetic practices to lighten their skin, which she argues is because lighter skin is a means of social mobility within their communities (p.204). Gordon analyzes the field site of Salvador where a large black population exists due to its historical role in the Trans-Atlantic Slave Trade (p.205).

P1: Rio de Janeiro is a beautiful country filled with warm social individuals, and an abundance of beautiful natural terrain. Nicknamed Rio, Rio de Janeiro’s residents are called Cariocas and work approximately 45 hours a week and are blessed with the opportunity to spend extensive hours in Brazil’s hot tropical climate within the beach and while exploring Rio alluring scenery like its hills, mountain ranges, islands, sandbanks, forests and mangroves. Cariocas also include individuals from other parts of Brazil and the world, that identify with Rio de Janeiro’s jeito (a spirit that is undefinable, but representative of the welcoming nature of Rio’s natives and their love of the ocean). Although the Portuguese might be the most recognized colonizer

In the 1980’s, some Brazilian archives on the enslavement in Brazil were burned. Most of the important files that talked about the impacts that the Africans brought into Brazil and the history of slavery were all burned into oblivion.The minister of Finance, Ruy Barbosa burned the archives. Ruy claims that he was trying to condemn slavery into oblivion, to forget about a time where we were not a united country (Marcus, 2000). This is a limitation because it interferes with the number of resources needed to find to understand how the African culture impacted Brazil. There is not enough information to understand the impacts that were caused.

A combination of traditional dance, music, fight and flips provides a recipe for the Brazilian art form called Capoeira. While capoeira is a now a part of Brazilian national identity, it also makes up a strong part of Brazilian black identity (Robitaille, 2007). Capoeira was originally invented by African slaves, who used it as a form of self-defense and rebellion (Capoeira World, 2015). Although capoeira had been used as a form of combat, one of the main reasons the slaves created it was to protect their own original cultures and rituals, and as a way of resisting Western ways (Robitaille, 2007). In the beginning, the Brazilian government declared capoeira as an illegal act, and anyone participating in it would have been arrested. Things began to shift when Mestre Bimba, an advocate for capoeira, convinced authorities that it could be used as an official fighting style and should be seen as a distinct cultural value. By 1932, capoeira became an official martial art form (Capoeira World, 2015; Delamont, 2008). Today, capoeira

Maria Montoya Martinez and Louise Joséphine Bourgeois were women unique to their times. Maria was born in New Mexico between the years 1881 and 1887. Throughout her childhood, she was drawn to pottery, which became her job and life. She “raised” pottery to an art form in her town, or pueblo. She used her artistry to revive the cultural pride of her native people, to teach her skills to others, and to create resources used to support her Pueblo (Tewa) community in the future. Louise Joséphine Bourgeois was a French-American artist who was well known for her large-scale sculpture and installation art; however she also was a prolific painter and printmaker. Through the course of her career, she had a variety of themes which included “domesticity and the family, sexuality, the body, and death and the subconscious.” When comparing and contrasting Maria Martinez and Louise based on the theoretical frameworks discussed in class, I was surprised by the many parallels in their lives because of

In 2003, Magali Maria Carrera published her book: Imagining Identity in New Spain: Race, Lineage and the Colonial Body in Portraiture and Casta paintings and presents a dissenting argument to Katzew’s earlier one. Carrera received her Masters of Arts, Masters of Philosophy and PhD from Columbia University. Currently, she teaches courses on the art and culture of ancient Peru and Mexico, classes on traditional African and feminist theory and survey courses. In this way, Carrera was also educated in Anglo-American world, but comes from a more academic background than the curatorial focus of Katzew’s career. Carrera is interested in reconstructing how casta paintings would have been understood by contemporary viewers. In the preface, Carrera asserts

America is an individualistic culture, informal dress code, more direct than the British, results and experience matter more than background or connections, work long hours, address each other very informally, competition is a positive fact, the communication style is energetic and positive, expects hard working individuals with constructive attitude, and value personal space and privacy

The Lomas article takes a more specific approach by looking at Picassos Les Demoiselles D’Avignon and how the form of the prostitutes could have been shaped by the dominant physical anthropological doctrine of the day. Lomas also studies Demoiselles as Picasso’s challenge and in many ways, celebration, of the widespread belief about the degeneration of Western civilized society. Lomas provides a background on the common anthropological beliefs of the day with a focus on anthropometry, which gave scientific backing to the racial, cultural and sexual hierarchy; a hierarchy that Picasso rebels against through the usage of primitive sources and morally degenerate subject matter. The degeneracy of the prostitute’s profession associated them with races at the bottom of the established hierarchy. As a result of this association, Picasso depicts the prostitutes with the anthropometrically assumed masculine body type of non-western, and more specifically, African and Oceanic people. Lomas provides examples of the preparatory sketches for Demoiselles allowing the reader to see Picasso research and develop the prostitute’s body

Some of Brazils natural resources are, gold, iron ore, nickel, platinum, tin, uranium and timber. You might be surprised to hear that Brazil in fact creates aeroplanes to export to other countries, I never knew that. A lot of those resources are valuable and earns the country billions of Reals ( Brazilian Money) You might wonder who is buying all this stuff from Brazil.

Waldemar Cordiero is an Italian artist but predominately practiced and produced work in Brazil and is a Brazilian national. Cordiero’s work A Mulher Que Nao B.B. (The Woman Who Is Not B.B.) 1971. is an offset paper lithograph. This work is a copy of a photograph and altered into a lithograph. The work portrays a crying woman. After analyzing the work, the viewer realizes that the the woman is Vietnamese. The title, who is not B.B., is a criticism of popular culture again through a depiction of a woman who is clearly suffering from the ongoing Vietnam War, which was at its climax when this piece was created. The title is criticizing popular culture because this woman should be receiving attention instead of cultures devotion to idolizing figures like “B.B” or Brigitte Bardot. This work is particularly interesting because it is yet another example of Brazilian artists’ utilization of pop art to make a critical statement regarding its own influence on life and culture. It is a work which calls into question the values of society and places a higher priority on beautiful celebrities and idolizing figures, rather than calling attention to the atrocities of war and the affects it has on innocent civilians. Brazilians artists, who are certainly not of unware of the affects of political

The Fauvism was founded in 1905 in France by twentieth-century modern artists. Unlike the others, the Fauvism could be absolutely deemed as a unique genre as it does not have special theory and principle yet is promoted by large numbers of artists in a short period (Freeman, 1990). This artistic style is in favour of creating a strong effect of paintings through bright and colours by announcing emotional expressionism. The Fauves absorbs the essence of Oriental and African arts, then crease a unique simple and sparse prospect on purpose. One of the most famous painting works named The Creole Dancer (as shown in Fig.1), painted by the greatest artist of the Fauves, Henri Matisse, is presented below and is to develop a demonstration of how saturation interferes differently (Roger, 2009).

Albert Eckhout used his status as a still life painter to create and immortalize the ingenious population of Dutch occupied Brazil. His painting brought to life the identity and rejection of the ingenious population.