![]() Palavras-chave : Arte pública, vandalismo, significado, motivos, soluções Abstract : The goal of this article is to analyze the vandalism of public art, addressing their meaning, their specificity in relation to other types of vandalism, his motives, and the possible measures of prevention or correction, to solve this problem. ![]() Apresentamos algumas medidas e possíveis soluções de carater técnico, medidas de sensibilização, educação e informação, defendemos uma maior adequação da arte ao local, espaços mais aceites pelo público para determinadas obras de arte, e também o maior envolvimento do próprio público nas iniciativas em torno da arte pública, e não apenas as iniciativas institucionais. Mais do que qualquer outras expressões artísticas, a arte pública é particularmente vulnerável, e suscetível de vandalismo, devido ao facto de se encontrar no espaço público, e de se confrontar com todo o tipo de público, muito dele não motivado ou sensibilizado, e é alvo de vandalismo por motivos políticos, estéticos, urbanísticos, económicos, psicológicos, morais, e religiosos. O objetivo do presente artigo é analisar o vandalismo da arte pública, abordando o seu significado, a sua especificidade em relação a outros tipos de vandalismo, os seus motivos, e as possíveis medidas, quer de correção quer de prevenção, para solucionar esse problema. In addition, they occasionally bring us the last shred of evidence of works of art that went missing or destroyed or even other that would never get to embody a permanent material. The importance of plaster models both in the format of reproductions or as prototypes, confuses itself with the uniqueness of original sculpture in stone, given that the intangible value that lies with them, comes from their testimony of working methods that have evolved over time. In this work, not only did we seek to reconstruct the art collection gathered in this period, but also to establish a clear relation between the works acquired in the past and those that are held today, providing them with a historical frame. The multiple commitments and challenges, the upmost art institution in the country has embraced during the nineteenth century, were projected into a plaster cast collection that was mostly inherited by the Fine Arts School of Lisbon, proving the importance of this research. Moreover, by examining these arrangements and observing the way certain trends influence each other we get a deeper understanding of how this wider notion of Classicism shaped Portuguese art by providing a particular statement that goes beyond chronological boundaries applied to artistic styles. These subjects help us reassess the role reproductions had in the first attempts to bring together a public collection of statuary. In this sense, we deal with key issues within a very specific subject matter that tends to relate the progressive value of plaster as teaching support the presence of Italian plaster molders in the country the molding campaigns made after national monuments, and the Lisbon Fine Arts Academy’s plaster casts workshop. More than a chronological standpoint for purchases of plaster casts made in the 19th century, this study brings an insight into the spread of tridimensional reproductions and the relation it bears with art collecting. ![]() The cast collection of classical sculpture reproductions of the Fine Arts Academy of Lisbon was the starting point for a journey into the origins of the Lisbon School of Sculpture and of art education in Portugal.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |