O nu feminino na Argentina e no Brasil - Pinturas de Eduardo Sívori e Rodolpho Amoêdo
DOI:
https://doi.org/10.25770/artc.12191Keywords:
Eduardo Sívori, Rodolpho Amoêdo, Female nude.Abstract
The article analyzes how Eduardo Sívori (Buenos Aires, 1847-1918) and Rodolpho Amoêdo (Rio de Janeiro, 1857-1941) come into contact, in Europe, with the contemporaries’ representations of the female nude and how they, each in their own way, assimilated these representations. In this sense, two works standout in the production of these artists: Le lever da la bonne (1887), by Sívori e Estudo de Mulher (1884), by Amoêdo. The article seeks to answer some questions: Did the artists desired to please or to shock with their paintings? Were these paintings a source of controversies, criticisms or compliments? Were they seen as innovative or traditional? Did they correspond to the expectations that were deposited in the young artists?
O artigo analisa como Eduardo Sívori (Buenos Aires, 1847-1918) e Rodolpho Amoêdo (Rio de Janeiro, 1857-1941) entraram em contato, na Europa, com as contemporâneas representações do nu feminino e como eles, cada um à sua maneira, assimilaram essas representações. Nesse sentido, duas obras se destacam na produção destes artistas: Le lever da la bonne (1887), de Sívori e Estudo de Mulher (1884), de Amoêdo. O artigo procura responder às seguintes questões: desejavam os artistas agradar ou chocar com suas pinturas? Foram as pinturas motivo de controvérsias, críticas ou elogios? Foram vistas como inovadoras ou 'tradicionais'? Corresponderam elas às expectativas que eram depositadas nos dois jovens artistas?
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