AS OBRAS DE ARTE PARA A COMPREENSÃO DA CULTURA CORPORAL: CONTRIBUIÇÕES E POSSIBILIDADES PARA O ENSINO DA EDUCAÇÃO FÍSICA

Esta investigação objetivou analisar a contribuição das obras de arte Jogos Infantis de Pieter Bruegel e O circo de Georges Seurat para a compreensão da cultura corporal no Livro Didático Público do Estado do Paraná. As análises possibilitaram constatar o caráter ilustrativo das imagens, bem como a descontextualização histórico-cultural das obras e de seus autores. Concluímos que as obras de arte se configuram em uma fértil possibilidade de atividade de ensino-aprendizagem da cultura corporal, entretanto, é necessário avançar nas produções didáticas, superando as incongruências apresentadas no Livro analisado, valorizando as imagens das obras de arte, seus artistas e o contexto de sua produção.

El mono y la mariposa: la visión irónica de la sociedad en Una tarde de domingo en la Grande Jatte, de Georges Seurat.

Analizamos la presencia en el cuadro Una tarde de domingo en la Grande Jatte, de Seurat, de dos de las figuras, el mono y la mariposa. Partiendo de la base del escándalo que suscitó la presencia del simio, concluimos que el animal es una referencia a la lujuria y da a entender implícitamente la profesión de su dueña. La mariposa sería un símbolo de liviandad e inconstancia, la cual en combinación con el mono le da al cuadro un perfil más irónico y menos bucólico. Analizamos también el proceso de composición de la obra y su importancia como precursor de las vanguardias del siglo XX.

Cézanne, Paul (1839–1906)

Paul Cézanne was a French painter, whose innovative techniques and original interpretations of traditional genres made him perhaps the most influential artist in the early history of modernism. Affiliated primarily with Post-Impressionism, Cézanne famously declared: ‘I wanted to make of Impressionism something solid and enduring like the art in the museums’. Along with his Post-Impressionist contemporaries Paul Gauguin, Vincent Van Gogh, and Georges Seurat, Cézanne advanced the lessons of the Impressionist painters with whom he was initially affiliated. His grasp of colour and composition, however, reflect his study of Éugene Delacroix and Nicolas Poussin. But it was Cézanne’s ability to represent underlying structures in nature, while retaining gestural but disciplined brushstrokes, that earned him the admiration of artists such as Henri Matisse and Pablo Picasso.

Signac, Paul (1863–1935)

Paul Signac was a prolific French Neo-Impressionist painter during the late 19th and early 20th centuries. His friendship with Georges Seurat defined the early part of his career in which he explored Pointillist and Divisionist painting methods. Interested by the laws and theories of physiological optics, Signac experimented with the effects of light and purposeful juxtaposition of color on canvas to produce effects in the eye of the viewer. Through the application of small, deliberate brushstrokes, Signac furthered the development of Neo-Impressionist painting techniques. Signac and Seurat practiced their theories of contrasting color through "Pointillism," the application of small dabs or dots of paint in calculated compositions. Following the death of Seurat in 1891 Signac turned from oil painting to watercolor and began to incorporate broader brushstrokes. He defined his new method as Divisionist rather than Pointillist. Signac focused his attention primarily on the promotion and dissemination of Divisionism and Neo-Impressionism.

Pointillism

Pointillism is a technique developed by Neo-Impressionist painter Georges Seurat (1859–1891) whereby paint is meticulously applied in small daubs or dots. Interested in color and optical theories, the Neo-Impressionists (Seurat, Paul Signac, Camille Pissaro, and other artists) applied Pointillist daubs (rather than more sweeping Impressionist brushstrokes) in conjunction with a closely related process known as Divisionism. With the goal of creating well-crafted harmonies of contrasts, the points of paint were applied, in analogous and complementary clusters, over gradated fields of local colors (such as green for grass) to form mutually enhancing fields of complementary hues. Using these techniques, unmixed (or divided) points of pigment were applied with the idea that the colors would blend in the eyes and minds of the viewer. Although this optical blending does not fully occur, these techniques produce a sense of vibrancy as the viewer’s eyes attempt to synthesize the multi-colored points. Although Pointillist and Divisionist techniques were intended to produce undulating color and light effects, the Neo-Impressionists’ concern for scientific principles, ordered composition, and artistic craftsmanship tended to result in more rigidly structured paintings than those of the Impressionists.

Van de Velde, Henry (1863–1957)

Architect and designer Henry van de Velde was born in Antwerp, Belgium, the sixth child in a middle-class family. The influence of Symbolism on his initial training as a painter, in particular the movement’s emphasis on the relationship between meaning and form, led to his eventual definition of the importance of the line as a motivating impetus in his work. This emphasis on line, combined with a growing interest in design reform, led to his career as a pre-eminent modernist, most prominently through his role as a founder of the Art Nouveau movement, and later work with the Deutscher Werkbund. Van de Velde began his professional life as a painter. He studied from 1880 until 1883 at the Academie voor Schone Kunsten in Antwerp. Through Georges Seurat, van de Velde developed his interest in the line. By 1892, nearly ten years after he had finished art school, van de Velde discovered the Arts and Crafts movement led by William Morris in England, which led the artist toward his training as an architect and designer.

Post-Impressionism

The British critic Roger Fry devised the term "Post-Impressionism" in 1910 while organizing an exhibition in London at the Grafton Galleries to introduce recent French art to the British public. For him, Post-Impressionism meant painters who "consider the Impressionists too naturalistic." He argued that Post-Impressionist painters privileged the simplicity of form and the expression of emotions over the Impressionists’ tendency to capture mere "shimmer and colour." Fry singled out Paul Gauguin, Vincent van Gogh, and Paul Cézanne for their efforts to advance Impressionism. An exhibition at the Museum of Modern Art in New York in 1929, organized by Alfred H. Barr, Jr., added Georges Seurat to the core group of Post-Impressionists. Barr declared that through their artistic innovations, all four artists had emerged from "the Impressionist blind-alley." While subsequent exhibitions and publications have attempted to broaden the range of artists who could be considered Post-Impressionists (for example, an exhibition organized by the Royal Academy of Arts in London in 1979), Seurat, Gauguin, van Gogh, and Cézanne continue to be celebrated as the artists who made the most noteworthy contributions to Post-Impressionism, forging the way to Fauvism, Cubism, Expressionism, and beyond.

Neo-Impressionism

Neo-Impressionism (1886–1906) comprised a group of avant-garde painters in France who explored a systematic approach to painting that revived Classical ideals while critiquing Impressionism’s prevailing aesthetic of spontaneity and improvisation. Led by the young, Parisian-born Georges Seurat, a rebellious École des Beaux-Arts-trained painter and anarchist, the Neo-Impressionists first gained attention at the eighth and final Impressionist exhibition in Paris in 1886. There, Seurat and his student Paul Signac, accompanied by the older Camille Pissarro, and his son Lucien, staged their bold new work. Its centerpiece was Seurat’s monumental Sunday Afternoon on the Island of La Grande Jatte (1884–1886), a visual manifesto to Neo-Impressionist precepts. In his review, art critic and activist Félix Fénéon coined the label néo-impressionisme to describe compositions that forcefully advanced Impressionism’s vibrant coloristic experiments. He detailed Seurat’s method of juxtaposing small, regularized touches of adjacent and complementary colors as ‘optical painting." Termed "divisionism," unblended pigments would theoretically "recombine on the retina" of the observer, resulting in a brilliant synthesis of hue and light on the painted surface. The methodical application of dots was termed "pointillism."