O processo criativo da pintura de modelo nu na transição do século XIX para o século XX na FBAUL : contribuição para o estudo da ‘absorção controlada’ das novas vanguardas

Abstract

This Ph.D. thesis studies the academic painting of nude, dated between 1883 and 1934, belonging to the collection of painting of the FBAUL. The aim of the study is to know the pictorial universe of 84 paintings of nude model and at the level of the material characterization is given a contribution in the case study of 20 paintings of the totality of the set. This set of paintings consists of female and male models. From the collection of the nude model of FBAUL, we highlight the works of Abel Manta (1888-1982), Adolpho de Sousa Rodrigues (1867-1908), Adriano de Sousa Lopes (1879-1944), Constantino Fernandes (1878-1920), Dórdio Gomes (1890-1976), Henrique Franco (1883-1961) and Ricardo Ruivo Júnior (1878-1910). The contribution to the material and technical characterization extended to the paintings made by disciples of José Veloso Salgado (1864-1945) and Columbano Bordalo Pinheiro (1857-1929). With this, the existence of underlying paintings was determined and the color palette used by these young painters was characterized, disciples of these two masters. The process of "controlled absorption" is a new concept that is intended to introduce in the history of the teaching of academic painting in Lisbon. The main purpose of this thesis is to determine how this absorption occurred and, chronologically, to understand how it influenced the entry of modernity into the Fine Arts of Lisbon. From the study of this process, it was determined that the influences come from four distinct factors: the contest for Professor of Painting of 1934, the question of returning state pensioners and some of them (afterwards) lecture, the international literature and the national exhibitions. In this way, we can determine that the main factor is the year of 1934 that constitutes a hinge on the level of pictorial production, reflecting the introduction of modernity in the teaching of painting in the Fine Arts of Lisbon with the entry of Henrique Franco as Professor of Painting. It was concluded that in fact modernity entered the Fine Arts of Lisbon, mainly with the figure of Henrique Franco, influencing the later production and differing from the production prior to 1934