6,018 research outputs found
Jorge Pinheiro - obra figurativa : referenciais/diferenciais
No full textIn the sequence of the dissertation, Jorge Pinheiro: The Referential (2010) [Master’s degree in Painting] in FBAUL, aiming at the figurative work of the author in the last decade of the 20th century and the first decade of the 21st century, the current project of research emerges, deepening the knowledge about the representation and figuration of the pictorial work produced during this period of time. The figurative painting of Jorge Pinheiro, produced over 1990-2010, resorting to models of the Model, is the representation of images culturally produced in images obscurely dreamt in the game Composition and Representation. Jorge Pinheiro states that he first starts from the titles he searches for in Literature. Provocative, the title intertwined with the representation reaches the observer. The recognition of the appropriated figurative fragments is the key to decoding his painting. The initial spectator is the one the author looks for. The myths and symbolic values are represented in the Painting. They are representations of representations on behalf of the shapes of power in Composition and Representation. The Symbol-Figures of Representation taken from Painting, Photography, Cinema, and Photojournalism are sublimated icons, corrupted or ruined in the artwork of Jorge Pinheiro. The artwork questions its legitimacy and simultaneously reiterates it, reflects the concept of originality in the work’s identity, identifies the first authors, and makes us think of the authorship of the second authors, highlighting the position of the artist in relation to society and to his own craft with historical background. The cultural image prevails in the game of representation and aesthetic discourse because the object of imitation is not an object but an idea. Reinventing the Memory recall legacy, the painting of Jorge Pinheiro is a permeable territory where Painting evokes Painting, Art, and Western Humanistic Values, allowing a whole generation to identify itself in the artwork and question our way of being in the worl
Jorge Pinheiro - obra figurativa : referenciais/diferenciais
No full textIn the sequence of the dissertation, Jorge Pinheiro: The Referential (2010) [Master’s degree in Painting] in FBAUL, aiming at the figurative work of the author in the last decade of the 20th century and the first decade of the 21st century, the current project of research emerges, deepening the knowledge about the representation and figuration of the pictorial work produced during this period of time. The figurative painting of Jorge Pinheiro, produced over 1990-2010, resorting to models of the Model, is the representation of images culturally produced in images obscurely dreamt in the game Composition and Representation. Jorge Pinheiro states that he first starts from the titles he searches for in Literature. Provocative, the title intertwined with the representation reaches the observer. The recognition of the appropriated figurative fragments is the key to decoding his painting. The initial spectator is the one the author looks for. The myths and symbolic values are represented in the Painting. They are representations of representations on behalf of the shapes of power in Composition and Representation. The Symbol-Figures of Representation taken from Painting, Photography, Cinema, and Photojournalism are sublimated icons, corrupted or ruined in the artwork of Jorge Pinheiro. The artwork questions its legitimacy and simultaneously reiterates it, reflects the concept of originality in the work’s identity, identifies the first authors, and makes us think of the authorship of the second authors, highlighting the position of the artist in relation to society and to his own craft with historical background. The cultural image prevails in the game of representation and aesthetic discourse because the object of imitation is not an object but an idea. Reinventing the Memory recall legacy, the painting of Jorge Pinheiro is a permeable territory where Painting evokes Painting, Art, and Western Humanistic Values, allowing a whole generation to identify itself in the artwork and question our way of being in the worl
[Jorge Abdo Askar, técnico da FJP]
No full textJorge Abdo Askar, técnico da Fundação João Pinheiro (FJP)
Complexidade, composição e geometria no processo conceptual de Jorge Pinheiro
No full textThis dissertation focuses on the analysis of the composition and geometry in the work of painter Jorge Pinheiro, particularly in the application of geometrical methods and techniques used by the artist. In the author's work geometry was used as an auxiliary instrument; nevertheless, its relation to painting is central to confirm that it was also a strong conceptual tool in the painter's work. Throughout his long artistic career Jorge Pinheiro has swayed between abstraction and figuration; however in the past two decades he was seen as a figurative painter. Jorge Pinheiro works on the logic of continuity, which explains his interpretation of the Fibonacci series as a methodological opportunity to perform non-iconic images and to clarify the modernist tradition of his body of work. Rather than searching for a sense within painting Jorge Pinheiro believed it was more important to understand the sense of life through painting. That is, to understand the logical and aesthetic reasoning in the artistic world, thus opening the field of study so that the viewer can contemplate the work in multiple aspects, within a very complex intertextuality of an inexhaustible semantic load, in which geometry is very significant as a conceptual tool. It is also proposed an approach to the painter's life and work, in order to understand and analyze composition and geometry in his works, using the artist’s piece Porquê? as a case study, as well as a note on the importance of the teaching method used by Professor Jorge Pinheiro in the 4th year Composition lessons at Escola Superior de Belas Artes de Lisboa (ESBAL
[Jorge Eduardo Cincunegui, técnico da Diretoria de Planejamento/FJP]
No full textJorge Eduardo Cincunegui, técnico da Diretoria de Planejamento, da Fundação João Pinheiro (FJP)
Complexidade, composição e geometria no processo conceptual de Jorge Pinheiro
No full textThis dissertation focuses on the analysis of the composition and geometry in the work of painter Jorge Pinheiro, particularly in the application of geometrical methods and techniques used by the artist. In the author's work geometry was used as an auxiliary instrument; nevertheless, its relation to painting is central to confirm that it was also a strong conceptual tool in the painter's work. Throughout his long artistic career Jorge Pinheiro has swayed between abstraction and figuration; however in the past two decades he was seen as a figurative painter. Jorge Pinheiro works on the logic of continuity, which explains his interpretation of the Fibonacci series as a methodological opportunity to perform non-iconic images and to clarify the modernist tradition of his body of work. Rather than searching for a sense within painting Jorge Pinheiro believed it was more important to understand the sense of life through painting. That is, to understand the logical and aesthetic reasoning in the artistic world, thus opening the field of study so that the viewer can contemplate the work in multiple aspects, within a very complex intertextuality of an inexhaustible semantic load, in which geometry is very significant as a conceptual tool. It is also proposed an approach to the painter's life and work, in order to understand and analyze composition and geometry in his works, using the artist’s piece Porquê? as a case study, as well as a note on the importance of the teaching method used by Professor Jorge Pinheiro in the 4th year Composition lessons at Escola Superior de Belas Artes de Lisboa (ESBAL
Complexidade, composição e geometria no processo conceptual de Jorge Pinheiro
No full textThis dissertation focuses on the analysis of the composition and geometry in the work of painter Jorge Pinheiro, particularly in the application of geometrical methods and techniques used by the artist. In the author's work geometry was used as an auxiliary instrument; nevertheless, its relation to painting is central to confirm that it was also a strong conceptual tool in the painter's work. Throughout his long artistic career Jorge Pinheiro has swayed between abstraction and figuration; however in the past two decades he was seen as a figurative painter. Jorge Pinheiro works on the logic of continuity, which explains his interpretation of the Fibonacci series as a methodological opportunity to perform non-iconic images and to clarify the modernist tradition of his body of work. Rather than searching for a sense within painting Jorge Pinheiro believed it was more important to understand the sense of life through painting. That is, to understand the logical and aesthetic reasoning in the artistic world, thus opening the field of study so that the viewer can contemplate the work in multiple aspects, within a very complex intertextuality of an inexhaustible semantic load, in which geometry is very significant as a conceptual tool. It is also proposed an approach to the painter's life and work, in order to understand and analyze composition and geometry in his works, using the artist’s piece Porquê? as a case study, as well as a note on the importance of the teaching method used by Professor Jorge Pinheiro in the 4th year Composition lessons at Escola Superior de Belas Artes de Lisboa (ESBAL
Entre Nós: entrevista a Jorge Pinheiro
No full textEmissões - Entre NósPrograma “Entre Nós” - uma produção vídeo da Universidade Aberta para a RTPEntrevista realizada em março de 2002, ao artista plástico Jorge Pinheiro e mostra da “Exposição Antológica 1961-2001”, organizada pelo Centro de Arte Moderna, da Fundação Calouste Gulbenkian.info:eu-repo/semantics/publishedVersio
[Reunião com o governador do Amapá, Jorge Nova da Costa, na FJP]
No full textReunião com o governador do Amapá, Jorge Nova da Costa, na Fundação João Pinheiro (FJP). Vê-se a partir da esquerda: Heraldo Santos Dutra; José Maria Fernando Medina; Hindemburgo Chateaubriand Pereira Diniz; Vicente de Paula Mendes e Marieta de Campos Alves Vitorino
[Jorge Aguinaga Diaz, do Peru, por ocasião do Seminário "Energia: Tecnologia e Planejamento"]
No full textO conferencista Jorge Aguinaga Diaz, do Peru, por ocasião do Seminário "Energia: Tecnologia e Planejamento", promovido pela Fundação João Pinheiro (FJP), a Organização dos Estados Americanos (OEA) e o Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq), no Centro de Desenvolvimento em Administação (CDA) da FJP
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