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Eurico Gonçalves e a expressão livre da criança
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A obra de Eurico Gonçalves, mais conhecida pelo seu contributo enquanto pintor
surrealista, compreende igualmente um extenso trabalho em pedagogia, teoria e crítica
de arte. Autor de inúmeros prefácios, ensaios e crónicas, assim como de publicações
próprias, Eurico é hoje um dos mais conhecidos especialistas em expressão plástica
infantil em Portugal, tema que, por si só, justifica uma nova abordagem à sua obra.
Esta dissertação surge da necessidade de compreender o alcance e a importância da sua
ampla actividade, (re)conhecendo a vasta obra que publicou, assim como as acções de
formação e cursos específicos no âmbito da expressão plástica que elabora desde a
década de sessenta, onde dá especial destaque a movimentos e tendências estéticas em
torno do Surrealismo, numa perspectiva pedagógica, da qual a sua escrita é testemunha.
Por outro lado, considerando uma certa tendência predominante na arte contemporânea
desde a segunda metade dos anos noventa, em que diferentes formas e estruturas
educacionais, métodos e programas pedagógicos alternativos, surgiram nas mais
diversas práticas curatoriais e artísticas, propõe-se, assim, um estudo que possibilite
novas formas de pensar o legado teórico e artístico de Eurico, percebendo na
actualidade as questões que coloca.
Entendemos que esta dissertação poderá colmatar uma certa lacuna existente ao nível de
um mapeamento deste legado de considerável valor pedagógico e artístico. Também, o
esclarecimento do seu contributo para a Pedagogia e a Educação Artística em Portugal,
poderá reafirmar Eurico enquanto figura tutelar para a historiografia destas disciplinas,
assim como posicioná-lo enquanto referência fundamental para áreas de estudo que
compreendem o relacionamento entre arte e educação, tema que, a nível internacional,
tem tido um peso considerável nas últimas décadas, mas que em Portugal ainda está
muito por explorar.
The work of Eurico Gonçalves, best known as a surrealist painter, also includes an extensive contribution to art education, art theory and art criticism. Eurico is currently one of the most well-known experts in children's plastic expression in Portugal, a theme that in itself justifies a new approach to his work. This dissertation arises from the need to understand the scope and impact of Eurico’s ample activity, recognizing his vast published work and teachings in artistic expression, developed since the 1960s, with special emphasis on movements and aesthetic trends around Surrealism, from a pedagogical perspective, as stated in his writings. On the other hand, considering a certain tendency in the contemporary art scene since the second half of the 1990s, in which different forms and educational structures, methods and alternative pedagogical programs appeared in the most diverse curatorial and artistic practices, what we propose is a study that enables new ways of thinking about the theoretical and artistic legacy of Eurico, bringing it to perspective in the present moment. We believe that this dissertation can address a certain gap in terms of a mapping of this legacy of considerable pedagogical and artistic value. In addition, by clarifying his position as a main figure for the History of Pedagogy and Artistic Education in Portugal, it is possible to rethink Eurico as a fundamental reference for studies in art and education, an issue that, at an international level, has had considerable weight in recent decades, but in Portugal is still to be explored.
The work of Eurico Gonçalves, best known as a surrealist painter, also includes an extensive contribution to art education, art theory and art criticism. Eurico is currently one of the most well-known experts in children's plastic expression in Portugal, a theme that in itself justifies a new approach to his work. This dissertation arises from the need to understand the scope and impact of Eurico’s ample activity, recognizing his vast published work and teachings in artistic expression, developed since the 1960s, with special emphasis on movements and aesthetic trends around Surrealism, from a pedagogical perspective, as stated in his writings. On the other hand, considering a certain tendency in the contemporary art scene since the second half of the 1990s, in which different forms and educational structures, methods and alternative pedagogical programs appeared in the most diverse curatorial and artistic practices, what we propose is a study that enables new ways of thinking about the theoretical and artistic legacy of Eurico, bringing it to perspective in the present moment. We believe that this dissertation can address a certain gap in terms of a mapping of this legacy of considerable pedagogical and artistic value. In addition, by clarifying his position as a main figure for the History of Pedagogy and Artistic Education in Portugal, it is possible to rethink Eurico as a fundamental reference for studies in art and education, an issue that, at an international level, has had considerable weight in recent decades, but in Portugal is still to be explored.
Descrição
Palavras-chave
Eurico Gonçalves Surrealismo Educação Artística Educação pela Arte Arte- Terapia Crítica de Arte Pedagogia Educational Turn Surrealism Art Education Education through Art Art Therapy Art Criticism Pedagogy