http://www.alart.org/contemporary-artists-phaidon/
A comparison of Antoni Gaudí (1852 – 1926) / Barcelona / Spain – - secret temple facade of family Poty Lazzarotto (1924-1998) CTBA-BR
As reported by Stella Pandell Russell in his book Art in the World "… [...] The essence of creation lies in the recognition of beauty, when occur. (Lippold, Sculpture, 1973). But the treasure of an artistic expression (Taylor 51-68) requires the accountability of governors to preserve it. What is the price that society has been paying for a long period of time for which mankind can behold the spirit and genius of Gaudí Poty? In this regard, Curitiba has grown so much! Proper use of Architecture and Art! Governors of Curitiba during the last decades are based on early drafts of Jaime Apprentice, an architect who promoted a revolution in terms of urban planning, and the city is considered one of the most beautiful cities in Brazil. Lazzarotto is the postal buildings important in Curitiba. His murals can be seen in the Government Palace, parks, museums, airport, near roads, squares, markets, library and a front facade Guaíra Theatre, which has been considered one of the largest theaters in South America has long held that the primary input is the most concrete Lazzarotto working close to Gaudí. Like the Secret Temple, Teatro Guaira also started with a smaller project. The first theater was called Guairinha ("Tiny Guaíra in Portuguese). Similarly, on the other side of the secret Temple was also built in a second time. The aggregation of Art Sculpture (Russell 171) to the new buildings is remarkable in both cases, regardless of the elements of Gaudí appear to be associated with writing to the front (Taylor 151). The elements are statuesque (See Russell 150) located in a special environment, a space created for them (Russell 213). Poty work also consists of various objects designed and harmonized all together. The two have a special language (Russell 40), but looks much as a specific character, as a closer can be a common sense when artists express their creativity and potential, as seen in this comparison. But it is not clear. You have to have the desire to look and compare.
And Barcelona in the Mediterranean Sea in the north end of the Spanish coast, is undoubtedly the most cosmopolitan and economically most active city in Spain. He has always shown a desire to be modern, to follow the latest international tendencies or be ahead of them. You can see the side of tradition and innovation side (See Russell 372). Given the architecture of Barcelona tourism reflects the general approach to life. Barcelona has a long history, counting on the monuments of Romanesque, Gothic and Renaissance especially those created in the last century. "Barcelona has been a center of modernism, characterized by the works of Gaudi his contemporaries who gave it exciting, but it has remained since then at the top of modernity.
The confrontation of Gaudí and facades Poty offers personalization and aggregation of social value in addition to the institutions. Gaudí focuses on religious grounds – - (front facade – the birth of Jesus) 02 – - (see Russell 02), Poty and show a retrospective of cinema throughout the world as a facade (see Russell 04).
"According to Michael Foucault (1973) intellectual practices and discourses can be identified will look for the denial of the merely empirical status. These speeches are not only linked with the legitimization of power, but how someone can get to [the truth. . .] "(Alexander 38-39)
One can consider that each space created is a social fact. As defined: "[...] The ways of doing something, stable or not, whenever possible, exercise an external coercion on the person, or all the way an extension of a company having an independent existence, independent of individual manifestations "(Durkheim, 12). Both facades enchant anyone against imaginary space.
A comparison of their artistic performances, family secret of the Temple, and Theater Guaíra Façades, regardless of the splendor of the church itself, one can get an idea of custom duty. The context in each of them was involved must be observed so that the murals can be understood as the emergence of contemporary social values, represented by their creations, enlightening and charming cities church and theater lovers, and as tourists. "The reconstruction of empirical reality by the characterization in terms of analysis and unification of the results is a good way more time to keep the questions of the observer "(Orestes 31). But contemplation does not exclude anyone.
Antonio Gaudi inspired so many writers over the years since its first biographies were printed, especially between 1829 and 1953. "The authors had the image of Gaudí sometimes confusing. A Renaissance cultural and political development took place in Europe and that was the context.
It was a moment of economic prosperity and urban expansion under the auspices of a class half wanted to be in line with new styles best in Europe. As Marx (68) observed mainly on religious beliefs in Europe: "[...] Criticism of society, and above all feudal, with the latter, who had to fight was about to criticism that Christianity was on Paganism and Protestantism from Catholicism.
As Gaudí said: "… something done so we can avoid waste, and the results of the work can be seen only by the continuous work that combines reflection and action, the requirements of precursors of creativity. "He was born in June 25, 1852 in Low Earth in Tarragona, Spain. His works are still preserved and methods work and research are known. He was considered a very smart kid, but always sick. His desire to do something in architecture began with the tours had at the time he and his friends began to engage with the discourses of recovery of the architectural heritage of their city. Then graduate in Architecture in 1878, in Barcelona, where his skills were not recognized only by calculation, but also a great creativity. His project was guided by Violles-le-Duc, Elies Rogent, which shows great interest in technology, materials, applied to the construction Arts, and the old style well known in the past. He had to give evidence its ability to Rogent Elies given the title of Architect stating that he did for a madman or a genius. The opportunities to demonstrate their powers were from La Casa Vicens and finally accepted by the society of Barcelona. Eusebi Güell (1846-1918) was impressed with the uniqueness of a piece of wood and iron crystal thereafter, Güell became one of its largest customers. 80, represent an advance in his career demonstrating his talent in all forms of architecture such as, residences (Güell Palace), designs, such as El Capricho de Comillas a Transatlantic Company Pavilion of the Exhibition of Cadiz, and religious – - Episcopal Palace of Astorga, the school of Teresina and the Secret Temple Family in Barcelona. He was aided by the authorities as Enric d'Osso, founder of the school of "The Teresina "and the bishops Torras i Bages, the most influential religious ideologies in the late nineteenth century. The general idea of his generation modernist, designated Catalan movement which corresponds to Art Nouveau had its format in 1888. But Gaudí could go along the historical boundaries that dominate the period and developing their own concept of beauty, which made his unmistakable style increasingly difficult to classify, at the same time. She refuses the proposal to participate in the municipal elections in 1905 and devotes time to run the front of the indications, the family secret of the temple, until his death in 1926. "This shows the concern Gaudí facade to portray "the birth of Jesus, showing all the scenes and characters included in the passage, such as animals, plants, figures human, angels, and the family secret (St. Mary, St. Joseph and Child Jesus). Gaudí was commissioned including the position of the entrance facade showing the source to the East because the rising sun comes from that direction, and the facade of the Passion on the opposite side due to the sunset. "In 1900, he this façade of 32 meters. There are three doors. The first represents the hope left, center, the birth of Jesus, and the right one represents faith. Helped matemal Gaudi, so they become very close reproductions in view of animals, human bodies and figures that he represented. "04" The secret of family is considered Gothic-inspired standard of modern architecture and the larger life of Gaudí project. It paints an entrance to the temple by submitting a 1500 singers, seven children, five organs, and this group seems to be a monumental theater scenery. "05
Their relationship with the church people should intensify their deep religious feelings and intentions. He spent considerable time working with the secret of the Family (1884) and even stopped accepting various projects (1908) working on it until 1926. The church, which remains in the remodeling after 115 years since it began, it became in a notorious center for visiting Barcelona. Gaudhi was considered modern but not modernist. He was the son of his time, not because modernity embodied as well as some intellectuals interpreted his work. Catalonia Gaudí is projection but not the noise of the passages because of their scandalous revolutionary concepts of art, and there are critics I could not understand. As repport Clemenceau: "Gaudí was an eccentric man with the personality of a genius, sometimes rude to people who worked with him. "But it is also reported to be generous and honest. His greatest work was the heavenly Jerusalem. Carner Josep Oriol Puig (1884-1970), wrote: (" If With you enjoy Modernism / do not stay real average path: / attains Gaudí The paroxysm / to enjoy it with him ") 05 (What it means: One can understand better with the modernism of Gaudí).
If we take into account new trends in terms of Arts in Brazil we must note that the early 50 give a new radical change in the whole system of art. In 1922, (Gaudí was close to completion), one of the major art movements in Brazil participated, and was called Week of Modern Art. Since then, modernism was always the first reference in terms of tendencies.06 of Curitiba, Paraná, Brazil, was a contemporary Poty all these events. But his work remains very regional and away from all these trends. Poty Gaudi could even compete with other artists of his time, and exposed to influences cultural goals.
As Regina Casillo says: "Every city has its own values, as is Minas Gerais Guignard, Di Cavalcanti to Rio de Janeiro, Curitiba and this was given by the gods to have Napoleon Potyguara Lazzarotto as its principal value (trans.). "06 Poty was born in Curitiba, March 29, 1924, providing signal destination. Is the date of Curitiba birthday as the former Prefect Rafael Greca de Macedo said: "The city that never stressed to portray in his paintings." Poty work is centered on the wall where visitors or not, go in the capital of Paraná, São Paulo or Rio.
His talent noticed designated Lazzarotto life since I was fourteen. He created a character named Harold, and then became famous for his figures. His work is known around the world especially in Rio de Janeiro, where one of his murals was destroyed by fire in 1964. In Sao Paulo, created the mural called the Memorial of Latin America. But in Parana that their work is more representative.08 attended the Faculty of Arts of Curitiba. The murals are large, and the comments of his work never confused. His preferred materials are cement, tiles, stained glass, and wood, and as noted in the large murals such as "Largo da Ordem" representing the carts grocery store, Italian and Polish basically colonial town near Largo da Ordem Curitiba. Another marvelous work is the mural in the Plaza 19 de Dezembro to celebrate the Centenary Parana. In the Palace of Iguaçu, one can see the mural Allegory of Paraná, which is the facade of Iguaçu, when it opened in 1953 (the same technique of Theatre). The main work to be discussed in front of Teatro Guaira that facade is Poty. Portrayed in the World Theater (1969). "Before he died in 1998, Poty could see an exhibition organized by CEF, one of the strongest
banks in Brazil, with designs, drawings and miniatures could be seen together for the first time, as Mrs. Casillo says. "09 Unlike Gaudí left unfinished secret temple.
The preliminary consideration is the fact that the first theater began to be built (1855) in Curitiba, while walking first steps Gaudí (1852). But the first one opened (1884) is now the Public Library building in Curitiba. Guaíra Theatre was originally a prison during the Federalist Revolution and only reopened in 1900 under the name Guaira. It was demolished. In 1952 it was rebuilt by public demand under the command of Rubens Meister (architect). The first stage was Salvador Ferrante (1954) and larger built 16 years later. A fire destroyed the theater in 1970 and was finally concluded in 1975, becoming one of the most great artistic and cultural complexes in Latin America. Only after all these reforms, Poty Lazzarotto, the artist who signed the front facade and had worked in the designs was hired (not run their work). It also provides heat to the stage curtain Bento Munhoz da Rocha Neto. He created the curtain of fire-theater largest known as Salvador de Ferrante Auditorium, both executed by Laila jar, and Carine Carmen. As Laila said, Poty followed the performance of their works as facade of the theater, and even add things outside the project for curtains. Gaudí did not, because of the accident that stole his life.
The facade of the Theatre Guaíra (24.50 x 4.80) provides a wonderful view of the evolution of theater worldwide. Different shades of gray and white are observed (the molds produced by Poty, were made of wood, providing a different key) as well as different levels of a cement structure plan, divided into several rectangles, set in very different levels (Some of them are negative). Contrary to the panel made with the same technique (on the walls of Palacio Iguaçu), we can see that the lines are different and variables. In Plate Guaira, Poty band uses lines much more than straight lines, as seen in the wall of the Palacio de Iguaçu (Taylor 55). Poty is the son European immigrants, and had to show concern for rural people and the North of Brazil, known as caipiras and Cangaceiros. The existence of communities with different outfits can be seen as one of its arguments. "There are some communities living in a segregated society total. They live in the diaspora, relationships, except the inevitable and the legal situation is usually [poor .. . ] "(Weber, 221). It was a very common feature of Brazil, taking into account the problems of ethnicity, even today.
A beautiful scene of a retrospective of the evolution of the theater over time and across the world can observe if it focuses the gaze from left to right to readwhat Poty want to convey. It begins with the presentation of a pine tree (symbol of southern Brazil – - Araucaria angustifolia – -), and a senior citizen in contrast to a young, fire, and a mask. Then, a second stage, showing a path, leading to a people. Immediately afterwards, a great eye, some architectural lines and the figure of a pair of Cangaceiros – - A character typical of northern Brazil. Poty also provides a group of dancers involved in abstract representations, and an angel can be seen near the signs. He puts two women side by side. One is too warm in a long dress and has a fan. The second is very modern and carries a purse. The last time was focused on the right portrays a world, led by a car. Many instruments can also be viewed as a harp, a violin and a trumpet. Finally, a man wearing a hat may be noticed in the back. The image total of the facade is maintained within the boards.
If for some reason, the work was printed Poty especially the historical aspects of regional concern cultural, as it always does, that it was Gaudí's concern, as the family secret is a universal religious symbol. However, "also Poty portray referred to as universal values, no matter who had regional approach. "10 Therefore, both can be considered similar in terms of this reference.
Gaudí should be much more useful to humanity if he had worked only with their designs and projects, reserving the builders of the responsibility for incorporating the securities to buildings. But this is utopian. It seems that had to be it. Today, with the division of labor, especially with established contemporary vision the world, it seems that people know exactly how life is too short to book as many achievements for one man (Gaudí's death is related to stress). Poty works with different plans and a volume of Gaudí (His figures are represented in the natural side.) It is interesting to note that Gaudí represents animals, much more realistic human figures.
Gaudí is being considered a saint. He could project not only a complement (facade) as part of the building. Gaudí was a century ahead of his time, and also by Picasso, Miro and many others, would make Barcelona the number one city in terms of style, aesthetics, innovation, attracting people of various nationalities to contemplate its extraordinary production of works, influencing even one of Portinari's most famous artists in Brazil. And Curitiba has an atmosphere of an "elsewhere", inviting people to fulfill the void of architectural creations metaphorical use of the works Poty as an invitation to attract visitors. With a modern vision Poty incorporates historical evidence as possible to modern buildings, which seems to be otherwise Gaudí's work, as it demonstrates the incorporation of modern biblical references creations especially a Gothic building (family secret of the Temple), adequate medieval architecture, perhaps for its extreme religiosity. But there is a general theme of her creations. His work is as strong as Poty.
In conclusion, can be deduced from this approach, which submerged industrial society brings all the principles especially in the last two centuries. The modern architecture is coming down, because moral legitimation of his aesthetic and philosophical reasons no longer exist. However, [. . . ] "Modernity as Baudelaire wrote in his article The painter of modern life printed in 1863, is the transitory, the avoidable, the contingent, which is half art, half being the eternal and immutable "(Harvey 21).
People can have interfaces of different interpretations of urban life and open a space on each new conception of art itself. As mentioned in Tarra Laila an interview: "There is no innocent eye." And there is a code of spaces in cities today. Space for leisure, residential, business, marketing, parks, shopping centers, churches, hospitals, etc. Make works of art add anything to these spaces, or diminish the functionality of that space? It is not uncommon to hear people saying: "But this mural Poty was fortunate for the government …" Or, "Gaudi must have spent all the money from the families at a time very difficult (war )…". As Mirabeau said: [... civilization] is of no use to society if not the form and essence of virtue (Elias 54).
Like Barcelona, Curitiba has the concept of property rights over the configuration of the art of printing a unique language in terms of style. "The artists reported last looking to the future "(Taylor177).
As reports Pandell Stella Russell "… Everyone can participate in the drive to create, but not all are creative in the same degree" [. . . ] (Russell 21). Y this is wonderful, because every human being has a different understanding and interpretation of reality. The fact that both artists have been printed of personality in these places should be regarded not only as a demonstration of extraordinary human potential to create, but also the need to have an encounter with beauty, and the summary of his relative concept, by chance passing in front of public buildings which immortalize the lives of every people and the personalities of the artists.
But Gaudí Poty and had style, and focus very specific topics in terms of performance, can not be ignored by the eyes of Curitiba brushes, which can abstract from traditional peoples in Europe, some very noticeable in urban planning and appropriate concurrent accidentally introduced in the city. As much as one sees, as a can look much more! It all depends on one
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MSN. Learning to search. January 25, 2003.http: / / Ifets.ieee.org/periodical/vol_1_2002/rountree.html
MSN. Art World. January 25, 2003. http://www.art-for-the-world.com/
MSN. From Abacus to Zeus. January 25, 2003. http://www.papiermache.co.uk/exec/cms-books/p-view/isbn-0130197289
MSN. Learn to look. 25 January 2003. http://www.erasmus-foundation.org/old_site/REIN12.HTM
MSN. Ideas of missions. January 25, 2003
http://www.bedfordstmartins.com/barnetbedau/content/instructor/content/xxx_menu.htm
About the Author
Última atualização do currículo em 30/07/2009
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