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A pintura de paisagem de Dominguez Alvarez na década de 30: uma proposta de releitura
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A presente dissertação foca-se na análise das pinturas de paisagem que Dominguez Alvarez produziu nos primeiros anos da década de 30, com o objectivo de se apresentar como proposta para uma nova leitura do percurso e obra do pintor português. A ligação que Dominguez Alvarez tinha à região do norte de Espanha, a Galiza, sendo frequentemente identificado como um pintor galego, apesar da sua família se ter radicado no Porto ainda antes do seu nascimento, foi o que, muitas vezes, produziu equívocos no que toca ao juízo da sua obra. Assim, através da releitura dos principais trabalhos desenvolvidos sobre Alvarez e da análise ao discurso historiográfico que foi sendo produzido acerca do pintor e da sua obra, esta dissertação pretende desmistificar alguns desses equívocos, ideias e conceitos que foram sendo construídos pela historiografia ao longo dos anos. Com a introdução de diferentes ferramentas no estudo da obra de Dominguez Alvarez, como o questionamento da ingenuidade ou a teoria da recepção estética delineada por Hans Robert Jauss, pretende-se enriquecer a abordagem que vem sendo feita a estas pinturas de paisagem. Ao reconhecer-lhes uma linha identitária, ligada a uma tradição hispânica relativa à Geração de 98 que, por um lado, é apontada como uma das razões impulsionadoras da tipificação da sua obra – por se tratar de referentes desconhecidos na história da pintura portuguesa – por outro, irá enobrecer o estudo destas paisagens. Finalmente, esta dissertação pretende também enriquecer a discussão com enlace daquilo a que se propõe com a análise destas paisagens através de uma observação detalhada.
The following dissertation focuses on the analysis of the landscape paintings that Dominguez Alvarez produced in the early 1930s, with the aim of presenting itself as a proposal for a reinterpretation of the Portuguese painter’s trajectory and work. The connection that Dominguez Alvarez had to the northern region of Spain, Galicia, being often mistakenly identified as a Galician painter, despite his family having settled in Oporto even before him being born, is what commonly leads to the rise of misconceptions regarding the judgement of his work. Thus, through the compilation of the main works developed on Alvarez, and the analysis of the historiographical discourse that has been formed about him and his work, this dissertation intends to demystify some of these misinterpretations, ideas and concepts which have been raised by historiography over the years. The introduction of different tools in the study of Dominguez Alvarez’s paintings, such as the questioning of naivety or the theory of aesthetic reception outlined by Hans Robert Jauss, is meant to enrich the approach taken to these landscape paintings. By recognizing them an identity path, linked to a Hispanic tradition related to the Generation of 98 which, on the one hand, may be pointed out as one of the reasons that stimulated the typification of his work – because these are unknown references in the history of Portuguese painting – on the other hand, it will dignify the study approach to these landscapes. Lastly, this dissertation aims at enriching the discussion by linking what is proposed with the analysis of these landscapes through a detailed observation.
The following dissertation focuses on the analysis of the landscape paintings that Dominguez Alvarez produced in the early 1930s, with the aim of presenting itself as a proposal for a reinterpretation of the Portuguese painter’s trajectory and work. The connection that Dominguez Alvarez had to the northern region of Spain, Galicia, being often mistakenly identified as a Galician painter, despite his family having settled in Oporto even before him being born, is what commonly leads to the rise of misconceptions regarding the judgement of his work. Thus, through the compilation of the main works developed on Alvarez, and the analysis of the historiographical discourse that has been formed about him and his work, this dissertation intends to demystify some of these misinterpretations, ideas and concepts which have been raised by historiography over the years. The introduction of different tools in the study of Dominguez Alvarez’s paintings, such as the questioning of naivety or the theory of aesthetic reception outlined by Hans Robert Jauss, is meant to enrich the approach taken to these landscape paintings. By recognizing them an identity path, linked to a Hispanic tradition related to the Generation of 98 which, on the one hand, may be pointed out as one of the reasons that stimulated the typification of his work – because these are unknown references in the history of Portuguese painting – on the other hand, it will dignify the study approach to these landscapes. Lastly, this dissertation aims at enriching the discussion by linking what is proposed with the analysis of these landscapes through a detailed observation.
Descrição
Palavras-chave
Dominguez Alvarez Pintura de paisagem Década de 30 Historiografia Geração de 98 Landscape painting 1930s Historiography Generation of 98