Owen Jones, Gottfried Semper e as origens antropológicas da arte ornamental
DOI:
https://doi.org/10.5965/2175234612272020034Palavras-chave:
Owen Jones, Gottfried Semper, arte primitiva, ornamentoResumo
Após a primeira Exposição Universal de Londres de 1851, os arquitetos Owen Jones e Gottfried Semper apelaram às culturas primitivas para afirmar a natureza antropológica da arte ornamental.
Downloads
Referências
BOAS, F. Primitive Art. New York: Dover, [1927] 1955.
CHESTNOVA, E. Ornament design is a kind of practical science - Theories of Orna-ment at the London School of Design and Department of Practical Art. Journal of Art Historiography, n. 11, p. 1-18, 2014.
CONNELLY, F. The Sleep of Reason: Primitivism in Modern European Art and Aesthe-tics, 1725-1907, Pennsylvannia: The Pensylvannia State University Press, 1995.
DYCE, W. Lecture delivered to the students of the London School of Design. Journal of Design and Manufactures, vol. 1, p. 26-29, 64-67, 91-94, 1849.
ETTLINGER, L. D. On Science, Industry and Art: some theories of Gottfried Semper. Architectural Review, n. 136, p. 57-60, 1964.
GLIOZZI, G. Rousseau : mythe du bon sauvage ou mythe critique du mythe des ori-gines? In : Primitivisme et mythes des origines dans la France des Lumières, 1680-1820, colloque tenu en Sorbonne les 24 et 25 mai 1988, Paris : Presse de l’Université de Paris-Sorbonne, 1989. p. 193-203.
GOLDWATER, R. Primitivism in Modern Art, 1966, éd. revue et augmentée de Primi-tivism in Modern Painting, 1938, fr. : Le Primitivisme dans l’art moderne, trad. fr. par Denise Paulme, Paris : Presses Universitaires de France, 1988.
GOMBRICH, E. H. The Preference for the Primitive. Episodes in the History of Western Taste and Art. Londres: Phaidon Press, 2002.
HERMANN, W. Gottfried Semper : in search of architecture. Cambridge/Massachus-sets : MIT Press, 1984.
HUMBERT DE SUPERVILLE, D. P. G. Essai sur les signes inconditionnels dans l’art. [Leyde : C. C. van der Hock, 1827] Réedition Paris: Fondation Custodia et Leyde: Ca-binet des estampes de l’Université, 1998.
HVATTUM, M. Gottfried Semper: Between Poetics and Practical Aesthetics. Zeits-chrift für Kunstgeschichte, v. 64, n. 4, p. 537-546, 2001.
JONES, O. The Grammar of Ornament, illustrated by examples from various styles of ornament. Londres: Day and Son, 1856.
KANT, I. Kritik der Urteilskraft [1790], tr. fr, Critique de la faculté de juger. trad. par Alain Renaut. Paris: Flammarion, 1995.
LABRUSSE, R. Une traversée du malheur occidental. In: LABRUSSE, R. (ed.) Purs décors ? Arts de l’Islam, reagrds du XIXe siècle. Collections des Arts Décoratifs. Catalogue d’exposition, Paris : Musée des Arts Décoratifs et Musée du Louvre. Paris : Les Arts Décoratifs et Musée du Louvre, 2007. p. 32-53.
LABRUSSE, R. Face au chaos: pensées de l’ornement à l’âge de l’industrie. Paris: Pres-ses du réel, 2018.
MALLGRAVE, H. F. Gustav Klemm and Gottfried Semper. The meeting of ethnological and architectural theory. RES - Anthropology and Aesthetics, n. 9, p. 69-79, 1985.
MALLGRAVE, H. F. Gottfried Semper, Architect of the Nineteenth Century. New Ha-ven et Londres: Yale University Press, 1996.
MASHECK, J. The carpet paradigm: critical prolegomena to a theory of flatness. Arts Magazine, v. 51, n. 1, p. 82-109, 1976.
MASHECK, J. Raw art: Primitive authenticity and German Expressionism. RES - An-thropology and Aesthetics, n. 4, p. 93-117, 1982.
MICHEL, C. L’argument des origines dans les théories des arts en France à l’époque des Lumières. In : Primitivisme et mythes des origines dans la France des Lumières, 1680-1820, colloque tenu en Sorbonne les 24 et 25 mai 1988. Paris : Presse de l’Uni-versité de Paris-Sorbonne, 1989. p. 35-45.
MILLER, D. Primitive Art and the Necessity of Primitivism in Art . In : HILLER, S. (ed.) The Myth of Primitivism. New York : Routledge, 1991. p. 50-89.
PAYNE, A. From ornament to object. Genealogies of architectural modernism. New Haven et Londres: Yale University Press, 2012.
PELTIER, P. Océanie. In : RUBIN, W. (ed.) Primitivism in 20 century art : affinity of the tribal and the modern. Catalogue d’exposition, New York, The Museum of Modern Art, 1984, fr. : Le Primitivisme dans l’art du 20e siècle: les artistes modernes devant l’art tribal. Paris: Flammarion, 1987. p. 99-123.
PHILLIPS, G. Rudiments of Curvilinear Design. Londres: Shaw and Sons, vers 1838.
REDGRAVE. R. Report on design: prepared as a supplement to the Report of the Jury of Class XXX of the Exhibition of 1851: at the desire of Her Majesty’s Commissioners. In: Report by the Juries of the Great Exhibition, Londres: William Clowes & Sons, 1852.
ROUSSEAU, J.-J. Discours sur l’origine et les fondements de l’inégalité parmi les hommes.Paris: Librairie de la Bibliothèque Nationale, [1755] 1804.
RYKWERT, J. On Adam’s house in Paradise ; the idea of the primitive hut in architec-tural history. New York : Museum of Modern Art, 1972.
RYKWERT, J. Semper and the Conception of Style. In: The Necessity of Artifice. Lon-dres : Academy Editions, 1982. p. 123-130.
RYKWERT, J. Preface. In : SEMPER, G. London Lecture of November 11, 1853. RES – Anthropology and Aesthetics, n. 6, p. 6-7,1983.
SCHAFTER, D. The Order of Ornament, the Structure of Style. Theorical Foundations of Modern Art and Architecture. Cambridge: Cambridge University Press, 2003.
SEMPER, G. Wissenschaft, Industrie und Kunst : Vprschläge zur Anregung nationa-len Kunst Gefühless, bei dem Schlusse der Londoner Industrie-Ausstellung. Brauns-chweig : Weiweg, 1852.
SEMPER, G. Die vier Elemente der Baukunst. Ein Beitrag zur vergleichenden Baukunde, Wieweg: Braunschweig, 1851. it. : I quattro elementi dell’architettura, trad. par Daria Rescaldani In: QUITZSCH, H. La vision estetica di Semper. Milano: Jaca Book, 1991.
SEMPER, G. On the study of polychromy and its revival. In: FALKENER, E. (ed.) The Museum of Classical Antiquities: being a series of essays on Ancient Art. Londres: Longmann, Green, Longman and Roberts, 1851. p. 228-246.
SEMPER, G. London Lecture of November 11, 1853, éd. avec un commentaire de Har-ry Francis Mallgrave et préface de Joseph Rykwert. RES – Anthropology and Aesthe-tics, 6, p. 6-22, 1983.
SEMPER, G. Der Stil in den technischen und tektonischen Künsten, oder praktische Aesthetik. Ein Handbuch für Techniker, Künstler und Kunstfreunde, vol. 1, Frankfurt, Verlag für Kunst und Wissenschaft, 1860 et vol. 2, Munich, Friedrich Bruckmann, 1863.
VARELA BRAGA, A. L’ornementation primitive dans la Grammar Ornament d’Owen Jones (1856). Histoire de l’art, 53, p. 91-101, 2003.
VARELA BRAGA, A. Les enjeux de la préférence pour les arts primitifs et islamiques dans le discours sur l’ornement au milieu du XIXe siècle. Images re-vues (Inactualité de l’ornement), 10, 2012. Disponível em: URL: http://imagesrevues.revues.org/2141
Downloads
Publicado
Como Citar
Edição
Seção
Licença
Copyright (c) 2020 Ariane Varela Braga
Este trabalho está licenciado sob uma licença Creative Commons Attribution 4.0 International License.
DECLARAÇÃO DE DIREITOS AUTORAIS
a. Os artigos publicados pela revista são de uso gratuito, destinados a aplicações acadêmicas e não comerciais. Todos os direitos autorais são atribuídos à revista. Os artigos cujos autores são identificados representam a expressão do ponto de vista de seus autores e não a posição oficial da Revista Palíndromo. O (s) autor (es) compromete-se sempre que publicar material referente ao artigo publicado no Palíndromo mencionar esta publicação da seguinte forma:
Este artigo foi publicado originalmente pela revista Palíndromo em seu volume (coloque o volume), número (coloque o número) no ano de (coloque o ano) e pode ser acessado em: http://www.revistas.udesc.br/index.php/palindromo
b. Plágio, em todas as suas formas, constitui um comportamento antiético de publicação e é inaceitável. A revista Palíndromo utiliza o software iThenticate de controle de similaridade
