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Soleil et Ombres. Identificação de um discurso historiográfico
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A exposição Soleil et Ombres. L'Art Portugais du XIXème Siècle, inaugurou a 19 de Outubro de 1987 no Petit Palais, em Paris, com destino a apresentar no estrangeiro a arte produzida em Portugal durante o século XIX, dentro de uma programação dedicada à arte internacional que estaria naquele momento em vigor neste museu. A exposição apresentou mais de 250 obras, distribuídas pelas nove salas cedidas pelo Petit Palais, e coincidiu com uma exposição de arte espanhola intitulada De Greco a Picasso - Cinq siècles d'art espagnol, apresentada no mesmo local. José-Augusto França assegurou o comissariado de Soleil et Ombres, defendo a sua vertente histórica e científica, face à dimensão claramente diplomática da mostra espanhola. A obra deste autor é conhecida pela abordagem vertical que faz da arte deste período, a partir da ideia do seu atraso permanente em relação paradigma artístico internacional. Esta dissertação tem como objetivo mostrar como essa abordagem foi ultrapassada na concretização da exposição Soleil et Ombres, através de uma análise crítica da sua receção, bem como estudar os seus efeitos a nível político, se a entendermos como uma afirmação do prestígio do país imediatamente depois da sua entrada na Comunidade Económica Europeia.
The exhibition Soleil et Ombres. L'Art Portugais du XIXème Siècle premiered on October 19th of 1987 at the Petit Palais Museum, in Paris, aiming to present abroad the art produced in Portugal during the 19th century within a program dedicated to international art that was, at the time, part of the action of that museum. This exhibition presented more than 250 artworks, distributed among the nine spaces provided by the Petit Palais, in parallel with an exhibition intitled De Greco a Picasso - Cinq siècles d'art espagnol, in that same museum. José-Augusto França was in charge of this project, defending its historical and scientific aspects, in opposition to the clear diplomatic dimension of the spanish exhibition. The work of this author is known for its low regard of the portuguese art in this period, due to its permanent delay in relation to the international artistic paradigm. This dissertation aims to show how this narrative is surpassed in the final product of this exhibition, bearing a critical analysis of its reception, as its effects on a political level, if we understand it as an affirmation of the country's prestige, immediately after their participation in the European Economic Community.
The exhibition Soleil et Ombres. L'Art Portugais du XIXème Siècle premiered on October 19th of 1987 at the Petit Palais Museum, in Paris, aiming to present abroad the art produced in Portugal during the 19th century within a program dedicated to international art that was, at the time, part of the action of that museum. This exhibition presented more than 250 artworks, distributed among the nine spaces provided by the Petit Palais, in parallel with an exhibition intitled De Greco a Picasso - Cinq siècles d'art espagnol, in that same museum. José-Augusto França was in charge of this project, defending its historical and scientific aspects, in opposition to the clear diplomatic dimension of the spanish exhibition. The work of this author is known for its low regard of the portuguese art in this period, due to its permanent delay in relation to the international artistic paradigm. This dissertation aims to show how this narrative is surpassed in the final product of this exhibition, bearing a critical analysis of its reception, as its effects on a political level, if we understand it as an affirmation of the country's prestige, immediately after their participation in the European Economic Community.
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José-Augusto França Século XIX Arte Portuguesa Teoria da Arte Centro e Periferias 19th century Portuguese Art Art Theory Center and Peripheries