tag:blogger.com,1999:blog-13629057505509659432024-03-12T19:25:30.277-07:00Prof. Círio SimonProf. Círio Simonhttp://www.blogger.com/profile/06566693954184732946noreply@blogger.comBlogger505125tag:blogger.com,1999:blog-1362905750550965943.post-29319686292855842702022-09-24T05:04:00.001-07:002022-09-24T05:04:07.931-07:00305 – ESTUDOS de ARTE As ARTES VISUAIS do RIO GRANDE do SUL no III MILÊNIO<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNplGRk660GYy44MnGwjPhAcDZvSOAiCjAARQ02c8NVRekawzZ7oG_vbqo4O9movHIiVRAegVAgAvVLDIc90GLc7sJ-cw7E2qYeKw5RE5h_0622slBvkHTbaEnwwcDF91aTfjqWVG8olX69joSOd9rBqKzmeTSdAfLZuXzV-vb8fQs9XJsSZGXl4uwIg/s1015/01%20titulo.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="767" data-original-width="1015" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNplGRk660GYy44MnGwjPhAcDZvSOAiCjAARQ02c8NVRekawzZ7oG_vbqo4O9movHIiVRAegVAgAvVLDIc90GLc7sJ-cw7E2qYeKw5RE5h_0622slBvkHTbaEnwwcDF91aTfjqWVG8olX69joSOd9rBqKzmeTSdAfLZuXzV-vb8fQs9XJsSZGXl4uwIg/s400/01%20titulo.jpg"/></a></div>
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Prof. Círio Simonhttp://www.blogger.com/profile/06566693954184732946noreply@blogger.com0tag:blogger.com,1999:blog-1362905750550965943.post-32575283536622470272022-09-13T11:50:00.002-07:002022-09-13T11:50:56.553-07:00.304 – ESTUDOS de ARTE As ARTES VISUAIS no RIO GRANDE do SUL entre 1990 e 1999<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh13dNoS5JehAW0BtNvWteMjGUv3NrIruHVmDD2xA6ivmuQPJQ6Gw0_LpldGCXoSQD3aH1oNxzP54QEGvfPfyk1s2CfEptJXNIpB-d4sQOvBBoCDD5Qm1IgMwwwO9V3o9IOq0izjMeY-3On0MCmz8cb1cmlfI8hLbxiaTkuL8rURObGmzksb2IkLnZHlA/s1003/01%20E%C3%87IS.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="759" data-original-width="1003" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh13dNoS5JehAW0BtNvWteMjGUv3NrIruHVmDD2xA6ivmuQPJQ6Gw0_LpldGCXoSQD3aH1oNxzP54QEGvfPfyk1s2CfEptJXNIpB-d4sQOvBBoCDD5Qm1IgMwwwO9V3o9IOq0izjMeY-3On0MCmz8cb1cmlfI8hLbxiaTkuL8rURObGmzksb2IkLnZHlA/s400/01%20E%C3%87IS.jpg"/></a></div>
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Prof. Círio Simonhttp://www.blogger.com/profile/06566693954184732946noreply@blogger.com0tag:blogger.com,1999:blog-1362905750550965943.post-48021928172684386952022-09-05T04:44:00.001-07:002022-09-05T04:44:27.497-07:00303 – ESTUDOS de ARTE As ARTES VISUAIS INSTITUCIONALIZADAS e de ALÉM FRONTEIRAS no RIO GRANDE do SUL.<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghedy_8trclJKP9SBP8kTgspv3W6k_RIIAS4EQUeSSoJaDQWi4USh7oofu6ZhBj_9aUuW0kwh6-thLEA-_blRW-fpM7wFEyj3r4Yy_wAbxEMzXThbBLnqypjok-elleF5WE4rSI-lLk8Unrd12iuHmhsUYG04D78ThDhWBxaa_gaakYCB-k2asvLtVng/s1023/01%20MAPA.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="753" data-original-width="1023" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghedy_8trclJKP9SBP8kTgspv3W6k_RIIAS4EQUeSSoJaDQWi4USh7oofu6ZhBj_9aUuW0kwh6-thLEA-_blRW-fpM7wFEyj3r4Yy_wAbxEMzXThbBLnqypjok-elleF5WE4rSI-lLk8Unrd12iuHmhsUYG04D78ThDhWBxaa_gaakYCB-k2asvLtVng/s400/01%20MAPA.jpg"/></a></div>
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Prof. Círio Simonhttp://www.blogger.com/profile/06566693954184732946noreply@blogger.com0tag:blogger.com,1999:blog-1362905750550965943.post-33350557590664692322022-08-15T04:00:00.000-07:002022-08-15T04:00:02.637-07:00301- ISTO é ARTE SUL-RIO-GRANDENSE Clébio Guillón Sória<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK6vBy8szq0NkMy6D719qOBjImV-Ow9DC4-DHD_5zx-ncS7boL3Uwzjp6ciflEwD7f6XuINY-a7sfeqXcH-uWARMvLZZe3A24Snt19zDWAZcdOHeT1vDbVg67WaW0qL6Sk2SsFOKm3DLoG2o5UuvBoFyZvLlilqwpnrBCy2wPlM5aWUcHPjLP8ZAahvA/s1007/01%20NOME.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="743" data-original-width="1007" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK6vBy8szq0NkMy6D719qOBjImV-Ow9DC4-DHD_5zx-ncS7boL3Uwzjp6ciflEwD7f6XuINY-a7sfeqXcH-uWARMvLZZe3A24Snt19zDWAZcdOHeT1vDbVg67WaW0qL6Sk2SsFOKm3DLoG2o5UuvBoFyZvLlilqwpnrBCy2wPlM5aWUcHPjLP8ZAahvA/s400/01%20NOME.jpg"/></a></div>
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Prof. Círio Simonhttp://www.blogger.com/profile/06566693954184732946noreply@blogger.com0tag:blogger.com,1999:blog-1362905750550965943.post-22121529737919665092022-08-04T10:25:00.001-07:002022-08-04T10:25:31.661-07:00300- ISTO é ARTE SUL-RIO-GRANDENSE CINQUENTENÁRIO do INSTITUTO de BELAS ARTES RS<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh767-sTLR3Ezr4aWKKzxTK9YeEyeUpWHz4uwnqF9WBpkt9PgIZPj390cVjf4197kQp7b3XFrF6kZT8kx-5JANmhyQr7drhkPVDYuKgykbtX5afD1TMwcktsPJgN30rivzf1hOLpCmEZ3F6t1q7STQIZafuigZa4QWDT_17KnzvLVV_l5xL94vwEaKSDQ/s1003/01%20LOGO.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="711" data-original-width="1003" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh767-sTLR3Ezr4aWKKzxTK9YeEyeUpWHz4uwnqF9WBpkt9PgIZPj390cVjf4197kQp7b3XFrF6kZT8kx-5JANmhyQr7drhkPVDYuKgykbtX5afD1TMwcktsPJgN30rivzf1hOLpCmEZ3F6t1q7STQIZafuigZa4QWDT_17KnzvLVV_l5xL94vwEaKSDQ/s400/01%20LOGO.jpg"/></a></div>
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Prof. Círio Simonhttp://www.blogger.com/profile/06566693954184732946noreply@blogger.com0tag:blogger.com,1999:blog-1362905750550965943.post-34784708763177541912022-07-23T09:37:00.002-07:002022-07-23T09:37:52.898-07:00299- ISTO é ARTE SUL-RIO-GRANDENSE : o PENSAMENTO de . Alice Ardohain SOARES.<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUcl39pOcNCcf3EqtZtD7mOVHTZsS4OwGKb0P4CHAy41jHZqROemIC1g9SM5X0dPTcqrpz-ojEG8ZqNoBVv6cnZP9sWH_PdEmc0OX_TqsW0v9r7EVNjubzSBTKI-UMnRG2ME00z3IU24DPnDbE6sVRXClFm5UI3cSHSKAac02J366mtCrBktrIREgoig/s1009/01%20introduz.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="705" data-original-width="1009" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUcl39pOcNCcf3EqtZtD7mOVHTZsS4OwGKb0P4CHAy41jHZqROemIC1g9SM5X0dPTcqrpz-ojEG8ZqNoBVv6cnZP9sWH_PdEmc0OX_TqsW0v9r7EVNjubzSBTKI-UMnRG2ME00z3IU24DPnDbE6sVRXClFm5UI3cSHSKAac02J366mtCrBktrIREgoig/s400/01%20introduz.jpg"/></a></div>
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Prof. Círio Simonhttp://www.blogger.com/profile/06566693954184732946noreply@blogger.com0tag:blogger.com,1999:blog-1362905750550965943.post-29467887190660773212022-07-10T09:31:00.002-07:002022-07-10T09:31:46.016-07:00298- ISTO é ARTE SUL-RIO-GRANDENSE : A GALERIA da PINTURA de 1935<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUDdtkiK5ZO2KId2Rfs7RbcengHF8-IwG5rIXg8Z0NrqJ1xXpxgmQtMzhS6jZ15hzbrVXLomuj9Lc-lux_OcVEutTzIzgiF4lOb49aMJgWZZ24mfoGhuDAmPpKO90EVobNwxtXqgdpt7g_RgWXdlosLoh9Bq5_dN4w5cvSNGeXzw2cDLt6YCY_2MMB7A/s996/01%20titulo.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="608" data-original-width="996" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUDdtkiK5ZO2KId2Rfs7RbcengHF8-IwG5rIXg8Z0NrqJ1xXpxgmQtMzhS6jZ15hzbrVXLomuj9Lc-lux_OcVEutTzIzgiF4lOb49aMJgWZZ24mfoGhuDAmPpKO90EVobNwxtXqgdpt7g_RgWXdlosLoh9Bq5_dN4w5cvSNGeXzw2cDLt6YCY_2MMB7A/s400/01%20titulo.jpg"/></a></div>
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Prof. Círio Simonhttp://www.blogger.com/profile/06566693954184732946noreply@blogger.com0tag:blogger.com,1999:blog-1362905750550965943.post-63262585828476815742022-06-26T12:21:00.001-07:002022-06-26T12:21:26.134-07:00297 - ISTO é ARTE SUL RIOGRANDENSE Salão da ESCOLA de ARTES de 1929 <div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixSVkWgiflJpNwg3jVWClRSieOlN1JJEG4cJS3-nNKKM1eQrRu0JiWrfeFfIj2HMxOnmTw-Iafslp63Ftje-4d-647G7Wij4LZiS0dKUpT_MjE0W-_4YWLZtLr3_Y7q44mgYtixwO-haz7lCWqPTTHt1j0xIcTbHXXg0BYP3Dm1n-7_qT15hN3agEt8Q/s895/01%20SUMULA.png" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="647" data-original-width="895" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixSVkWgiflJpNwg3jVWClRSieOlN1JJEG4cJS3-nNKKM1eQrRu0JiWrfeFfIj2HMxOnmTw-Iafslp63Ftje-4d-647G7Wij4LZiS0dKUpT_MjE0W-_4YWLZtLr3_Y7q44mgYtixwO-haz7lCWqPTTHt1j0xIcTbHXXg0BYP3Dm1n-7_qT15hN3agEt8Q/s400/01%20SUMULA.png"/></a></div>
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Prof. Círio Simonhttp://www.blogger.com/profile/06566693954184732946noreply@blogger.com0tag:blogger.com,1999:blog-1362905750550965943.post-39682741212265278252022-06-16T10:51:00.000-07:002022-06-16T10:51:09.291-07:00296 - ISTO é ARTE SUL RIOGRANDENSE monumento a Júlio de Castilhos<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNw1dg8ROz2zTTenEiJs_wC8apx_KksInNp7m9BRcnKg4VxciIDLnNNmaN9zATM77PggbDY2-i_7AhxFDPIN38RzH53lXiI8yUw9zXIGBlw8fdopPs3WPsCbZ1V7SKIf0V38zgm3o8_KqG_DaVrmg-I5fAtJTpMBQOPM8O9HkoFyzU6WAZGmtImhEUFw/s1013/01%20SUMARIO.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="727" data-original-width="1013" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNw1dg8ROz2zTTenEiJs_wC8apx_KksInNp7m9BRcnKg4VxciIDLnNNmaN9zATM77PggbDY2-i_7AhxFDPIN38RzH53lXiI8yUw9zXIGBlw8fdopPs3WPsCbZ1V7SKIf0V38zgm3o8_KqG_DaVrmg-I5fAtJTpMBQOPM8O9HkoFyzU6WAZGmtImhEUFw/s400/01%20SUMARIO.jpg"/></a></div>
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Prof. Círio Simonhttp://www.blogger.com/profile/06566693954184732946noreply@blogger.com0tag:blogger.com,1999:blog-1362905750550965943.post-60356774394442999222022-06-04T16:33:00.001-07:002022-06-04T16:33:29.729-07:00295 - ISTO é ARTE SUL RIOGRANDENSE A ESCOLA de ARTES do IBA-RS<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC6A3MyC61KPGT308OHYwpzL3SGeafnySVmb0ajxIsonqGmw26amaoiIhoLa43xjVR30I_JvOqODtDZYcjTZgY9zP_cfp2kAlM5YdnvAGVL8a2Gl2IUGDYB4kxeKGcneHUPlaNL21jw2EWy8CrMM3R1Ma4mfx9UCFVgFHfCmNxfvgF4YOtMpAvYOafrA/s663/000%20S%C3%9AMULA.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="521" data-original-width="663" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC6A3MyC61KPGT308OHYwpzL3SGeafnySVmb0ajxIsonqGmw26amaoiIhoLa43xjVR30I_JvOqODtDZYcjTZgY9zP_cfp2kAlM5YdnvAGVL8a2Gl2IUGDYB4kxeKGcneHUPlaNL21jw2EWy8CrMM3R1Ma4mfx9UCFVgFHfCmNxfvgF4YOtMpAvYOafrA/s400/000%20S%C3%9AMULA.jpg"/</a></div>
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Prof. Círio Simonhttp://www.blogger.com/profile/06566693954184732946noreply@blogger.com0tag:blogger.com,1999:blog-1362905750550965943.post-67327756828141255472022-05-21T15:51:00.001-07:002022-05-21T15:51:34.574-07:00294 - ISTO é ARTE SUL RIOGRANDENSE e o MESTRE JOÃO GRÜNEWALD<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWeMTQRRz2mUnOJzLcKbpYlU2vcVhcw8cfDwczz4OT9eGKx-s_0jcs8NvwRXcpRIIekdGHe3nGEGY5I1EpUpbcaurxnhikcg6PCxf-HaLLlXotp-mkbmcCnP-dHIDoWUs_wVRlnKoLvRlQP45hVcGvsMXbtZ4TQNHQ6z3JsdhqYKMoqr2uIHH0te9www/s997/01%20-%20titulo.png" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="733" data-original-width="997" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWeMTQRRz2mUnOJzLcKbpYlU2vcVhcw8cfDwczz4OT9eGKx-s_0jcs8NvwRXcpRIIekdGHe3nGEGY5I1EpUpbcaurxnhikcg6PCxf-HaLLlXotp-mkbmcCnP-dHIDoWUs_wVRlnKoLvRlQP45hVcGvsMXbtZ4TQNHQ6z3JsdhqYKMoqr2uIHH0te9www/s400/01%20-%20titulo.png"/></a></div>
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Prof. Círio Simonhttp://www.blogger.com/profile/06566693954184732946noreply@blogger.com0tag:blogger.com,1999:blog-1362905750550965943.post-7917726241980951272022-05-07T09:24:00.000-07:002022-05-07T09:24:01.363-07:00293 - ISTO é ARTE SUL RIOGRANDENSE no BICENTENÁRIO da INDEPENDÊNCIA do BRASIL<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNtW_VWy7cVA_PqeEaZezHUZcb240kQHBV4-klLYNiNHP9Q3esbXFOfLG7fnlzPy-6nPwj3z-5rQhYESNV2y2twhcfL5nxi8qtVWzdzvtZ665fIKK20taOb5LUTz-5tMN72HfYQlnnmMiX0U7XRE521e3aDSTCR-pqISXlYKXjrojFIK5QT0RDVFo4Lg/s1017/000a%20cabe%C3%A7alho.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="763" data-original-width="1017" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNtW_VWy7cVA_PqeEaZezHUZcb240kQHBV4-klLYNiNHP9Q3esbXFOfLG7fnlzPy-6nPwj3z-5rQhYESNV2y2twhcfL5nxi8qtVWzdzvtZ665fIKK20taOb5LUTz-5tMN72HfYQlnnmMiX0U7XRE521e3aDSTCR-pqISXlYKXjrojFIK5QT0RDVFo4Lg/s400/000a%20cabe%C3%A7alho.jpg"/></a></div>
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Prof. Círio Simonhttp://www.blogger.com/profile/06566693954184732946noreply@blogger.com0tag:blogger.com,1999:blog-1362905750550965943.post-42575532876664801942022-04-02T08:25:00.002-07:002022-04-02T08:26:38.492-07:00291 - ISTO é ARTE SUL RIOGRANDENSE no BICENTENÁRIO da INDEPENDÊNCIAO AUTORRETRATO de Manuel Araújo Porto-alegre como uma das expressões de
autonomia das ARTES VISUAIS SUL-RIO-GRANDENSES e ÍCONE do MARGS
01 – Uma obrafundamental do MARGS
02 – A VERDADE deste AUTORRETRATO
03 – Especificando anatureza desta obra
04 – Uma OBRA INAUGURAL PESSOAL e COLETIVA 04.1 – Uma OBRAINAUGURAL PESSOAL 04.2 – Uma OBRA INAUGURAL COLETIVA
05 – O critério de ANTIGUIDADE de uma OBRA de ARTE
06 – Uma OBRA de ARTE como testemunha dapassagem do contexto COLONIAL para a SOBERANIA BRASILEIRA
07 – O AUTORRETRATO naDIACRONIA da OBRA de Manuel Araújo Porto-alegre
08 – Um AUTORRETRATO como ÍNDICEda SOMATÓRIA da PASSAGEM de REGIMES POLÍTICOS
09 – O AUTORRETRATO do jovemManuel Araújo Porto-alegre e a ARTE de um NOVO TEMPO do BRASIL.
10 -A VERDADEpossível ao jovem Manuel Araújo Porto-alegre,
01 – Uma obra fundamental do MARGS
No ano de 2021 foi incorporada, ao ACERVO do MARGS, a PINTURA do AUTORRETRATO do
jovem Manuel Araújo Porto-alegre (1806-1879) pintado aos 17 anos em Porto Alegre
no ano de 1823. Esta obra necessita também uma longa e minuciosa atenção e
pesquisa depois de sobreviver à sua peregrinação de dois seculos de existência.
Não se conhece ainda teses ou livros com o tema especifico deste autorretrato
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https://www.margs.rs.gov.br/catalogo-de-obras/A/42439/Manuel Araújo Porto-alegre (1806-1879) - autorretrato aos 17 anos (1823)
Técnicas: Óleo sobre madeira Dimensões: 21,5 x 16 cm Procedência: Aquisição por transferência do Museu Julio de Castilhos, 2021 Registro:no MARGS 4896
Fig. 01 – Considera-se este autorretrato jovem Manuel Araújo - pintado em 1823 no primeiro ano da Independência do Brasil – como um ÍCONE do MUSEU de ARTE do RIO GRANDE do SUL. Concorre, para esta tese a sua antiguidade, o rompimento com a estética colonial, a ênfase no individuo, a técnica resumida da tinta sobre uma superfície
A PINTURA do autorretrato do jovem Manuel Araújo Porto-alegre merece reconhecimento como legítima e ser considerada com atenção especial e destaque no ACERVO do MARGS Merece, agora, esta atenção e reconhecimento depois de sua sobrevivência, - na qual certamente perdeu muitas companheiras – tanto pela sua natureza estética como pelo massivo e volumoso contexto de sua origem, pelas marcas das circunstâncias das quais ela é portadora material e conceitual.
Na busca a BELEZA da VERDADE empreende-se, no pressente texto, o estudo do AUTORRETRATO de Manuel Araújo Porto-alegre. Esta VERDADE é frágil, esquiva e exige, desta pesquisa, vencer muitas dificuldades, compreensão e não menor empatia estética e receptividade imediata e universal.
02 – A VERDADE deste AUTORRETRATO
No entanto, a VERDADE desta PINTURA, concorre com um longo cortejo de obras de arte do acervo do MARGS na espera de serem promovidas a ÍCONE, SIMBOLO e IDENTIFICADORA da INSTITUIÇÃO. Certamente a nenhuma delas falta méritos, atrativos e simpatias por um ou oura razão.
A tese do presente estudo a VERDADE desta PINTURA do AUTORRETRATO de Manuel Araújo Porto-alegre é vista e percebida como uma das primeiras expressões de autonomia das artes visuais sul rio-grandenses. Portanto como um índice da busca de SOBERANIA ESTÉTICA sul-rio-grandense e conectada com a INDEPENDÊNCIA BRASILEIRA proclamada no ano anterior à criação desta obra. O ano de 1823 é da Independência da BAHIA e do PARÁ e a sua adesão ao BRASIL, configurando seu ATUAL território.
03 – Especificando a natureza desta obra
Entende-se aqui a natureza estética PINTURA como a disposição de TINTA sobre uma superfície. O contrário também é verdadeiro pois a disposição de tinta sobre uma superfície também é PINTURA Assim, naterialmente a PINTURA do AUTORRETRATO do jovem Manuel Araújo Porto-alegre, não passa de TINTA sobre uma superfície, Esta PINTURA incorpora-se numa vasta e continua HISTÓRIA da habilidade prática humana que se perde na profundeza das cavernas da Pré-História, porém retomada e renovada de geração em geração.
No caso do AUTORRETRATO do jovem Manuel Araújo Porto-alegre esta PINTURA incorpora e se orienta pelos contextos TEMÁTICOS, LEGAIS, ESTÉTICOS, CIENTÍFICOS, TÉCNICOS, LOCAIS e REGIONAIS.
04 – Uma OBRA INAUGURAL PESSOAL e COLETIVA
Esta PINTURA instaura um momento especial no contexto TEMÁTICO na prática e habilidade humana. Nas ARTES VISUAIS SUL RIO_GRANDENSES o TEMA deste AUTORRETRATO é o primeiro que se conhece, até o momento.
De um lado esta OBRA PICTÓRICA estabelece um ponto de partida no plano da sua evolução pessoal constitui um referencial do artista para sua vasta e volumosa produção posterior no âmbito da habilidade de dispor a TINTA sobre uma superfície. Dou outro lado ela abre as portas para uma legião de ARTISTAS VISUAIS SUL RIO_GRANDENSES se debruçarem e se contemplarem a sua própria imagem para transformar esta percepção visual em OBRAS PICTÓRICAS. Anida não se estudo e de sistematizou o tema do AUTO RETRATO PICTÓRICO do ARTISTA VISUAL SUL-RIO-GRANDENSE
04.1 – Uma OBRA INAUGURAL PESSOAL
Na SOBERANIA este AUTORRETRATO de Manuel Araújo Porto alegre não possui objetivo fora dele mesmo. Este exercício da PINTURA visa o gosto da ARTE sem se submeter ao mercado de arte e a condicionamentos estéticos, políticos, ideológicos e econômicos. Manuel Araújo Porto-alegre sempre viveu e sobreviveu sem depender ou prostituir a sua autonomia da sua arte. Sempre procurou oficios, tarefas e trabalhos sem fazer concessões á autonomia do artista. Sempre próximo da arte ele morreu em Lisboa em 1879 como embaixador brasileiro depois de percorrer, nesta função, as principais capitais mundiais da arte da cultura. Como professor e orientador abriu caminho para os sus discípulos entre os quais Vitor MEIRELES e Pedro AMÉRICO que se tornou seu genro. Atribui-se aqui a este último a preservação de suas obras.
04.2 – Uma OBRA INAUGURAL COLETIVA
A TESE que se quer sustentar aqui é que este AUTORRETRATO de Manuel Araújo Porto-alegre é uma expressão de AUTONOMIA, INDEPENDÊNCIA e SOBERANIA das ARTES VISUAIS do RIO GRANDE do SUL. Como tal ele se incorpora, visualiza, gera e sustenta outras SOBERANIAS, INDEPENDÊNCIAS e AUTONOMIAS. Esta obra, produzida em Porto Alegre, expressa um ponto de descentralização no eterno fluxo e refluxo do centralismo político, econômico e cultural brasileiro
Este AUTORRETRATO de Manuel Araújo Porto-alegre carrega os índices da cultura de AUTONOMIA, INDEPENDÊNCIA e SOBERANIA de sua origem, transito e recepção.
Na sua origem ela carrega os índices da Missão Artística Francesa em 1816 e que por sua vez decorrem da REVOLUÇÃO FRANCESA dos seus desdobramentos e dialéticas nas ARTES VISUAIS. No seu trânsito posterior, pela cultura e arte brasileira, esta obra representa um ponto significativo no projeto civilizatório institucional da arte que o seu autor herdou e desenvolveu com o seu mestre Jean Baptiste Debret e com as conexões que desenvolveu com as diversas culturas e centros de artes vigentes na sua época
As expressões de AUTONOMIA, INDEPENDÊNCIA e SOBERANIA das ARTES VISUAIS do RIO GRANDE do SUL estiveram a uma distância suficiente para não se envolverem com caprichos culturais, intrigas estéticas o patrulhamentos externos às artes Assim os seus artistas puderam colher o que lhes interessava e desenvolver o seu modo de ser próprio num lugar distante de críticas inócuas, de patrulhamentos acadêmicos. Quando intervinham em outros lugares e culturas o faziam convictos, conhecendo a si mesmos e dos seus limites
AUTONOMIA em relação ao REGIME COLONIAL anterior na qual a PINTURA estava a serviço do ESTADO COLONIAL e da RELIGIÃO. O autorretrato de 1823 não estava a serviço de um de outro poder externo.
Compreende-se INDEPENDÊNCIA como o individuo que busca SER o que fato o seu ENTE É e o que ele toma como modelo e paradigma de si mesmo.
05 – O critério de ANTIGUIDADE de uma OBRA de ARTE
A ANTIGUIDADE de uma OBRA de ARTE refere-se à sua origem a sua recepção. Nesta preservação não se conta só a soma do número de seus anos. Mas o especialmente a carga de eventos que motivaram a sua origem, o seu transito no qual os fatos, os eventos, as tendências estéticas, politicas e sociais foram se depositando e acumulando sobre ela. Assim camada após camada esta obra cada ano vai acrescentado aos seus méritos estéticos. Em síntese uma OBRA de ARTE carrega, o seu mínimo material um máximo de circunstâncias.
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DEBRET Chegada de Dona LEOPOLDINA Charles Simon Pradier (1783-1847 ) gravura margem 44 x 67 papel 57 x 75 cm c.1820 -
A obra de Araújo Porto-alegre como índice da cultura trazida pela Missão Artística Francesa em 1816
Fig. 02 – Entre os índices da Missão Artística Francesa, de 1816, que Araújo Porto-alegre conheceu foi uma gravura de Charles SIMON PRADIER um dos artesões de Paris radicados no Rio de Janeiro Nascido em Rio Pardo trabalhava no comércio de Porto Alegre e era aprendiz de algum pintor estrangeiro itinerante no Rio Grande do Sul. Foi atrás destes artistaias e artesões migrando para a corte . Ali tornou-se discípulo de Jean-Baptiste Debret na Imperial Academia de Belas Artes saber
06 – Uma OBRA de ARTE como testemunha da passagem do contexto COLONIAL para a SOBERANIA BRASILEIRA
A COLÔNIA do BRASIL era um NÃO LUGAR ao qual o português nato tinha de ir por obrigação e dever, mas não era para PERMANECER além do tempo previsto pelas severas e estreitas ordens recebidas. Neste contexto colonial a prática da arte não tinha outro sentido além do vínculo com a metrópole.
Já na passagem do REGIME COLONIAL para o IMPERIAL a obra de Araújo Porto-alegre necessita preencher um duplo vazio. Um vazio era vencer o desinteresse pala cultura herdada, ao longo dos 300 anos, do REGIME COLONIAL. Outro vazio é da falta de tradição, de instituições e de gente qualificada para instaurar uma autêntica ARTE BRASILEIRA em um LUGAR no qual ainda havia tudo a fazer.
Neste sentido a COLÔNIA do BRASILEIRA era um NÃO LUGAR no TEMPO. As igrejas, as casas grandes e muito menos as senzalas tinham relógio. Os escravos ou,“peças”, permaneciam dia e noite e sem fim de semana, sob o controle do feitor e ao mando dos senhores. Os raros relógios solares funcionam só em dias favoráveis. A fabricação de qualquer relógio mecânico estava fora do alcance mesmo dos artesões mais habilidosos. O jovem Manuel Araújo Porto-alegre encontrou trabalho com estes artesões qualificados europeus vindos de fora da tradição ibérica que aproveitavam, na capital da capitania, esta imensa e secular lacuna do BRASIL como NÃO LUGAR no TEMPO.
O BRASIL como COLÔNIA de PORTUGAL era um NÃO LUGAR da CIVILIZAÇÃO OCIDENTAL da qual LISBOA mantinha a sua posse fora da marcha CIENTÍFICA e TÉCNICA e dessincronizada com o resto do mundo conhecido. Para tanto construiu e mantinha o um rosário de fortes, fortalezas e quarteis guarnecendo a sua COLONIA para manter longe os olhares e cobiça de outras nações, culturas e saberes. Para tanto elaborou uma férrea legislação cuidadosamente montado pelo “capas pretas” de Coimbra que garantiam a ESCRAVIDÃO LEGAL, o controle rígido do “sangue impuro” dos judeus e dos mouros, sem contar com os eventuais hereges. Com estas LEIS COLONIAIS os lusitanos precediam os fatos e os atos praticados na COLONIA BRASILEIRA. Atos e fatos dos quais estava excluída a ARTE na concepção atual. A TÉCNICA da PINTURA ARTÍSTICA e para fins de expressão pessoal, era algo proibido na COLONIA BRASILEIRA Ela era destinada à PINTURA SACRA com motivos e temas exclusivamente religiosos Não havia retratos, paisagens ou motivos profanos nas casas, mesmo nas mais ricas. Na COLONIA não se permitia a fabricação de pigmentos e tintas para fins artísticos. Diante desta imensa lacuna o pequeno e despretensioso AUTORRETRATO de Manuel Araújo Porto-alegre, datado do ano de 1823, ganha dimensões notáveis.
Com a vigência ativa destas leis a COLÔNIA do BRASIL era um NÃO LUGAR para a CIDADANIA Quem não era escravo comprado, vendido e guardado e feito trabalhar era uma PEÇA era súdito sem direitos políticos, administrativos ou capacidade de decidir e deliberar. Dentro destes súditos os povos originários, os crioulos ou crias da terra, os analfabetos e as mulheres não podiam aspirar a qualquer cargo publico de mando o exercício de algum tipo de voto. Quem decidia e deliberava necessariamente tinha de ser luso e provar que o seu sangue era “PURO ” até a quinta geração antes dele. Assim descendentes de e HEREGES, MOUROS ou JUDEUS também eram discriminados e afastados de qualquer cargo no qual poderiam deliberar e decidir.
Em contrapartida à descriminação dos nativos no REGIME COLONIAL, o BRASIL INDEPENDENTE entrega, as funções dos cargos públicos, apenas para brasileiros natos ou naturalizados.
Assim faz sentido a genealogia do jovem Manuel Araújo Porto-alegre num estudo empreendido pelo pesquisador Paulo Jaurês Pedroso Xavier (1917-2007). Este estudo permite perceber a formação da sociedade riograndense. Certamente o artista quis reverenciar estes antepassados e esta sociedade ao pedir que seus restos mortais repousassem entre estes seus antepassados
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Fig. 03 – O gentílico “o Porto-alegre”, que Manuel ARAÚJO adotou, refere-se a alguém que vem da cidade de Porto Alegre Assim ele grafava corretamene Porto-alegre, quando assinava ou identificava uma obra como semndo ua
07 – O AUTORRETRATO na DIACRONIA da OBRA de Manuel Araújo Porto-alegre
Numa dimensão HISTÓRICA a PINTURA do AUTORRETRATO do jovem Manuel Araújo Porto-alegre é um índice da DIACRONIA do que viria depois de sua elaboração. O ponto de partida é o principio de que a “ARTE ESTÁ EM QUEM PRODUZ” No caso desta obra juvenil de um ENTE HUMANO cuja potencialidade foi num crescendo, uma ampliação constante e uma diversificação do seu modo de Manuel Araújo Porto-alegre SER artista.
Na medida em que avançava em idade permaneceu fiel ao seu MODO de SER ARTISTA, Neste MODO de SER ARTISTA ele encontrou numerosas maneiras significativas e de manifestar suas potencialidades de SER artista Ao se desafiar descobriu com outra formas de PRODUZIR ele não perdeu o seu projeto de adolescente expressa precocemente no seu AUTORRETRATO . Amadurecia no TEMPO no meio de sucessivos e subsequentes desafios em territórios nos quais a recém proclamada independência do Brasil abria espaço para se a afirmar e buscar a sua autonomia estética. Existe uma vasta produção intelectual que possui por objeto a DIACRONIA desta produção. No entanto esta produção literária contamina-se na indevida comparação com a produção de centros artísticos hegemônicos, além de concentra-se no valor patrimonial como objeto de trocas. Neste olhar genérico, comparativo e patrimonialista a PINTURA do AUTORRETRATO do jovem Manuel Araújo Porto-alegre NÃO ENCONTRA ATENÇÃO, o seu devido lugar, quando não é omitido sumariamente desta produção
08 – Um AUTORRETRATO como ÍNDICE da SOMATÓRIA da PASSAGEM de REGIMES POLÍTICOS
No entanto, a somatória da obra de Araújo Porto-alegre constitui índice da passagem do REGIME COLONIAL ao IMPERIAL A obra de Araújo Porto-alegre necessitou vencer o desinteresse pala cultura herdada do longo período colonial. Diante a tradição, gostos e hábitos herdados e vigentes no REGIME COLONIAL esta obra enfrentou a tarefa de alimentar novos hábitos, consolidar gostos e tradições capazes de criar, evidenciar e reproduzir no recém instaurado REGIME IMPERIAL BRASILEIRO,
Nesta tarefa a cultura trazida pela Missão Artística Francesa, em 1816, certamente foi um ponto de ATUALIZAÇÃO de ALGUMAS raras INTELIGÊNCIAS. No entanto, faltava tudo a fazer na PESQUISA ESTÉTICA BRASILEIRA. Nesta e ATUALIZAÇÃO das INTELIGÊNCIAS locais exigia-se um novo fundamento, paredes e telhado coerentes com o LOCAL, abrigo de uma SOCIEDADE especifica sem perder de vista o TEMPO vivo pelas culturas hegemônicas da época.
09 – O AUTORRETRATO do jovem Manuel Araújo Porto-alegre e um NOVO TEMPO da ARTE no BRASIL.
A PINTURA do AUTORRETRATO do jovem Manuel Araújo Porto-alegre certamente constitui um índice de um novo tempo brasileiro diferente do ritmo, motivações e práticas vigentes em PORTUGAL . No Brasil, de 1823, faltava tudo para criar, se firmar e se reproduzir esta identidade que lhe havia sido subtraída, negada e sem uma receptividade diferente daquela da antiga metropole. O jovem Manuel Araújo Porto-alegre entregou-se de corpo e alma às práticas, motivações e tarefa para criar, se firmar e se reproduzir esta identidade brasileira Contraditoriamente sua morte em PORTUGAL representa., de um lado, a continuidade da identidade que era possível da cultura lusitana. Porém não negava o surgimento, ao mesmo tempo, de uma nova identidade a altura da CIVILIZAÇÃO OCIDENTAL Mas estava apenas no caminho.
Esta nova identidade da ARTE no BRASIL não é tarefa e obra de subserviência a outras culturas, do acaso ou de um voluntarismo personalista. Esta SOBERANIA, INDEPENDÊNCIA ou AUTONOMIA é culminância de um árduo e longo caminho. Este caminho do mestre levou o seu discípulo, orientando e genro, Pedro Américo, a ser escolhido para ser o derradeiro artista visual ao direito de ter o seu autorretrato, de 1895, aceito na “Galleria degli Uffizi” de Florença entre as mais prestigiosas obras do Renascimento Italiano.
10 -A VERDADE possível ao jovem Manuel Araújo Porto-alegre.
O AUTORRETRATO de Manuel Araújo Porto-alegre representa um inequívoco PONTO de PARTIDA MATERIAL e INTELECTUAL. Era a VERDADE possível ao jovem Manuel Araújo Porto-alegre, de 17 anos, residente no Rio Grande do Sul materializou e deu corpo na PINTURA do seu AUTORRETRATO no ano de 1823. Com esta obra o jovem pintor criou um ponto de apoio material e de referência intelectual de sua época e abriu um vasto mundo de horizontes e de potenciais caminhos para as sucessivas etapas das EXPRESSÕES AUTONOMIA ESTÉTICA LOCAL e BRASILEIRA. Esta obra deste jovem colocada nos primórdios da INDEPENDÊNCIA do BRASIL apontava o caminho e garantia um referencial da SOBERANIA dos sentimentos, vontades e inteligência do seu PODER ORIGINÁRIO BRASILEIRO. Neste projeto do AUTORRETRATO de Manuel Araújo Porto-alegre irradia a BELEZA da VERDADE de um jovem sul-rio-grandense que busca SER o que fato é o seu ENTE.
XAVIER, Paulo Jaurés Pedroso (1917 - 2007)1 .CADERNOS de ARTES - nº 01 - Porto Alegre : Instituto XAVIER, Paulo Jaurés Pedroso (1917 - 2007)2 .CADERNOS de ARTES - nº 01 - Porto Alegre : Instituto de Artes da UFRGS Jun 1980. (Dedicado integralmente a Manuel Araújo Porto Alegre)
---------Família de um povoador: contribuição à genealogia de Manuel Araújo Porto-Alegre (1806-1979) Porto Alegre: UFRGS Departamento de Artes Visuais IA, 1980, 49 p.
-----------. «Ascendência Brasileira de Araújo Porto Alegre» in Correio do Povo. Caderno de Sábado . Volume XCVI , ano VII , n o 596, 29.12.1979. p. 16
Paulo XAVIER http://www.cbg.org.br/novo/colegio/historia/antigos-titulares/paulo-jaures-xavier/
181 – ICONOGRAFIA SUL-RIO-GRANDENSE
http://profciriosimon.blogspot.com.br/2016/09/181-iconografia-sul-rio-grandense.html
CARECE de ESTUDOS< PESQUISAS< COMPROVAÇÔES
Não se conhece tese sobre especfica desta autorretrato
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A obra de Araújo Porto-alegre como índice da cultura trazida pela Missão Artística Francesa em 1816. – ICONOGRAFIA SUL-RIO-GRANDENSE postagem nº 181.
http://profciriosimon.blogspot.com.br/2016/09/181-iconografia-sul-rio-grandense.html
Manuel Araújo Pitangueira
https://pt.wikipedia.org/wiki/Manuel_de_Ara%C3%BAjo_Porto-Alegre
ICONOGRAFIA de obras de Manuel Araújo Porto-alegre
https://www.brasilianaiconografica.art.br/artigos/20083/um-album-de-araujo-porto-alegre
Pedro Américo e Manuel Araújo Porto-alegre
https://enciclopedia.itaucultural.org.br/pessoa18773/manuel-de-araujo-porto-alegre?gclid=CjwKCAjw_tWRBhAwEiwALxFPoUZUxDqc-Tro5Mi3xDeO-ru7r1Cw2L-Ui08uu8nNpD9lrqjYb_5lFhoCLDYQAvD_BwE
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https://pt.wikipedia.org/wiki/Ficheiro:Pedro_Américo_-_Retrato_de_Manoel_de_Araújo_Porto-Alegre,_1869.jpg
Pedro Américo na Galleria degli Uffiizi dos autorretratos de Florença
https://pt.wikipedia.org/wiki/Ficheiro:Pedro_Am%C3%A9rico_-_Auto-retrato,_1895.jpg
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https://m.facebook.com/pedroamericoartista/photos/a.134907029886973/1583875304990131/?type=3&source=57
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https://br.pinterest.com/pin/pedro-amrico-autoretrato-1877-galleria-degli-uffizi-florena-itlia--367254544588169221/
A falácia do 07 de setembro de 1822 como dia da Independência do Brasil
https://biblio.campusananindeua.ufpa.br/index.php/ultimas-noticias/491-adesao-do-para-a-independencia-do-brasil
CARLOTA JOAQUINA RAINHA da ARGENTINA
https://constelar.com.br/astrologia-mundial/historia-e-cultura/carlota-joaquina/
Palacio da CABANAGEM BELÉM do PARÁ
http://tyba.com.br/br/registro/cd305_289.JPG/-Fachada-posterior-do-Palacio-Antonio-Lemos---Sede-da-Prefeitura-da-cidade-de-Belem-e-tambem-do-Museu-da-Cabanagem-MABE----Belem---Para-PA---Brasil
convite para o CURSO dos 200 anos das ARTES VISUAIS do RIO GRANDE do SUL no contexto do BICENTENÁRIO da INDEPENDÊNCIA do BRASIL o programa está disponível em
https://mail.google.com/mail/u/0/#inbox/FMfcgzGmvfgKGdvwDfgXntLvTkhthGbf
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CURSO oferecido pela AAMARGS
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A ARTE NO RIO GRANDE DO SUL DE 1822 A 2022
BICENTENÁRIO DA INDEPENDÊNCIA NO BRASIL
A obra de arte é única e primordial. Sempre esteve e estará nos artistas, a ela predispostos e mais amplamente realizados quando livres, autônomos e soberanos. Livres, autônomos e soberanos porque estes são seus direitos naturais, assim como dos estados e nações aos quais pertencem.
Mas como o artista é um ser no mundo, e não uma divindade autossuficiente, suas obras depois de criadas precisam de instituições que as apoiem, para se enraizarem no conjunto da sociedade. Ao entrarem neste mundo da recepção elas se sujeitam a avaliações e narrativas que variam no tempo e conforme as circunstâncias.
O conjunto de obras e suas instituições de apoio, das avaliações e narrativas que sobre elas se formam, quando distribuídas no tempo, formam aquilo que chamamos de história da arte. Uma totalidade cuja apreensão plena não pode ser realizada. Por isso o presente curso se propõe a apresentar e discutir alguns tópicos da arte produzida no RGS entre 1822 e 2022. 1822 por ser o ano da declaração de independência e soberania da nação brasileira. 2022 por ser o ano do seu bicentenário, ocasião mais do que propícia para se discutir, principalmente, em que situação se encontram as suas instituições de apoio. O recorte espacial é o estado do Rio Grande do Sul. Com o pressuposto de que, pelo acervo de obras nele produzidas e existentes, pode-se auferir o sentido e a importância das mesmas como expressão da independência, autonomia e soberania da própria nacionalidade, a partir de uma de suas unidades federadas.
Os critérios de divisão sincrônica do tempo – em décadas - é arbitrário, como arbitrárias são todas as demais divisões. No tempo diacrônico – o da longa duração – persegue-se a hipótese de que a busca da identidade, da liberdade de criar, da autonomia e soberania são valores que permeiam, com maior ou menor amplitude, a arte produzida no espaço étnico e culturalmente múltiplo que é o Rio Grande do Sul.
Metodologia: o curso será ministrado, concomitantemente, pelos professores Círio Simon e Arnoldo Doberstein, numa dinâmica expositiva, coloquial e, se for o caso, dialogada com o público.
Local: Auditório do MARGS, com lugares demarcados, distanciados e limitados ao número máximo de 30 pessoas.
Data e horário: de 13/4/2022 até 26/10/2022, nas Quartas-Feiras (com exceção do dia 6/9/2022) no horário das 14:30 às 16:00.
Inscrição: apenas presencial, no horário e local de início do curso.
Investimento: O valor da inscrição, para todo o curso, é de R$ 200,00 (pagamento em dinheiro), com desconto de 10% para os associados (em dia) da AAMARGS.
Programa:
- 13/04/2022. As décadas de 1820-29 e 1830-39, com ênfase para a presença dos viajantes estrangeiros, igrejas construídas, artesanato em metal e couro, e nas arquiteturas das cidades de Porto Alegre e Piratini.
- 27/04/2022. As décadas de 1840-49 e 1850-59, com ênfase na imaginária farroupilha, e sua longa duração, os ecos do neoclassicismo arquitetônico, assim como a obra de Rudolf Wendroth, João do Couto e Silva e Edouard Zalony.
- 11/05/2022. As décadas de 1860-69 e 1870-79, com ênfase para a arte gráfica do Sentinella do Sul, para o aquarelista Edoardo de Martino, o fotógrafo- retratista Luis Terragno, Bernardo Grasseli e a Exposição de 1875.
- 25/05/2022. As décadas de 1880-89 e 1890-1899, com ênfase para a Exposição de 1881, e a obra de Adriano Pitanti, João Grünewald, Frederico Trebi, Guilherme Litran e Pedro Weingartner.
- 08/06/2022. A década de 1900-09, com ênfase para o prédio da Prefeitura Municipal, a Exposição de 1903 da Gazeta do Comércio, os monumentos a Bento Gonçalves, de Rio Grande, e a criação do Instituto de Belas Artes.
- 22/06/2022. A década de 1910-19, com ênfase para o monumento a Julio de Castilhos, o Quadriênio Glorioso na arquitetura de Porto Alegre, os surgimentos das revistas KODAK e MÁSCARA e a fase “rio-grandense” de Pedro Weingartner.
- 06/07/2022. A década de 1920-29, com ênfase no Salão de Outono, de 1925, o surgimento das revistas Madrugada (1926) e Revista do Globo (1929), a docência de Libindo Ferraz, Fernando Corona, Francis Pelichek e José Lutzenberger, e o Salão da Escola de Artes de 1929.
- 20/07/2022. A década de 1930-39, com ênfase na obra dos artistas gráficos da Revista do Globo, dos monumentos aos heróis-armados, na Exposição de 1935, na criação da Chico Lisboa e na atuação de Fernando Corona-arquiteto.
- 03/08/2022. A década 1940-49, com ênfase nas artistas mulheres formadas na década de 1940 (Alice Soares, Alice Brueggemann, Christina Balbão, Leda Flores e Dorothea Vergara) o surgimento do MTG, Grupo de Bagé e Clube de Gravuras (1948) e a vinda de Locatelli e Sessa para o RGS.
- 17/08/2022. A década 1950-59, com ênfase no muralismo laico de Locatelli (Salgado Filho, Caxias do Sul, Palácio Piratini), a afirmação dos gravuristas, da revista Horizonte e das artistas-mulheres, a fundação do MARGS e atuação de Ado Malagoli, na obra de Antônio Caringi e nas exposições de 1955 e do Salão Panamericano de 1958.
- 31/08/2022. A década 1960-69, com ênfase na fundação do Atelier Livre da Prefeitura (1962), no surgimento e afirmação de uma nova geração de artistas (Iberê Camargo, Xico Stockinger, Cleber Sória, entre outros), a ampliação do mercado de arte e do colecionismo no RGS.
- 14/09/2022. A década 1970-79, com ênfase na escultura pública monumental (Vasco Prado, Carlos Tênius, Xico Stockinger), a escalada nacional dos artistas rio-grandenses em Brasília, a formação do Grupo Nervo Ótico e a nova sede de Margs.
- 28/09/2022. A década 1980-89, com ênfase no envolvimento dos artistas rio-grandenses na campanha pela redemocratização do país.
- 11/10/2022 (terça-feira). A década 1990-1999, com ênfase no reaproveitamento de prédios públicos para abrigar instituições culturais (Casa de Cultura Mário Quintana, Museu Hipólito José da Costa, Museu Ruth Schneider, de Passo Fundo), no programa “espaço urbano-espaço arte” da Pref. Municipal de Porto Alegre e nas primeiras edições da Bienal do Mercosul.
- 26/10/2022. As décadas de 2000-2009 e 2010-2019, com ênfase na obra pública de Mário Fuke, Carlos Vergara e Regina Silveira e para a indagação de final de curso: como anda nossa consciência coletiva rio-grandense diante da arte atual e de sua inserção num tempo de “história em migalhas”?Prof. Círio Simonhttp://www.blogger.com/profile/06566693954184732946noreply@blogger.com0tag:blogger.com,1999:blog-1362905750550965943.post-75524832387011306212020-11-04T08:59:00.003-08:002020-11-04T09:39:13.121-08:00203 – NÃO FOI NO GRITO – novembro de 1820<p align="center" class="MsoNormal" style="background: white; text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p align="center" class="MsoNormal" style="text-align: center;"><b><span face=""Arial Black", sans-serif"><span style="color: white; font-size: x-large;">A</span><span style="font-size: x-large;"> SUSTENTAÇÃO da REVOLUÇÃO do PORTO e as suas
CONSEQUÊNCIAS.<o:p></o:p></span></span></b></p><p align="center" class="MsoNormal" style="text-align: center;"><b><span face=""Arial Black", sans-serif" style="color: #2b00fe;"><span style="font-size: x-large;"> </span><span style="font-size: 18pt;"><o:p></o:p></span></span></b></p><p class="MsoNormal" style="margin-left: 1cm; text-align: justify;"><span style="color: #2b00fe;"><b><i><span style="font-size: 14pt;">. <span>“</span></span></i></b><b><i><span face=""Verdana","sans-serif"" style="font-size: 14pt;"><span>Na hypothese de que o Governo de Portugal, ou as
futuras Cortes, desejem, como nós desejamos, a continuação da uniaõ de Portugal
com o Brazil, porque sem a cordeal cooperação d'El Rey, he impossivel que tal
uniaõ se possa verificar</span></span></i></b></span><b><i><span style="font-size: 14pt;"><span style="color: #2b00fe;">” </span><o:p></o:p></span></i></b></p><p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-left: 21.3pt; margin-right: 21.25pt; margin-top: 0cm; margin: 0cm 21.25pt 0cm 21.3pt; text-align: center;">
<span face="Arial, sans-serif" style="font-size: 11pt;"><a href="https://www.bestnetleiloes.com/pt/leiloes/livros-94/revolucao-liberal-de-1820"></a></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://www.bestnetleiloes.com/pt/leiloes/livros-94/revolucao-liberal-de-1820"><span style="color: black;"><span><b style="text-align: justify;">CORREIO BRAZILINSE em NOVEMBRO de 1820 </b><b style="text-align: justify;"><i><span style="font-size: 14pt;">p. 554.</span></i></b></span></span></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtwlmoqiFmd8zhY3KqwMpm1U9RWcnvPI3R__ETZWzbX5q4a99R54PeWDM0aLAoQGcxkMvzb1-0LEWfJem8oVA4zNLmYF_X4dCCUFqAzUBtuXJj9FAjv_tqFqQ1vaL53yG04qAA2Z_PKvq8/s1665/01+-+DI%25C3%2581RIO+NACIONAL+Porto+agosto+-+sertemnro+de+de1820.jpg" style="color: #c00000; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1665" data-original-width="1269" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtwlmoqiFmd8zhY3KqwMpm1U9RWcnvPI3R__ETZWzbX5q4a99R54PeWDM0aLAoQGcxkMvzb1-0LEWfJem8oVA4zNLmYF_X4dCCUFqAzUBtuXJj9FAjv_tqFqQ1vaL53yG04qAA2Z_PKvq8/w283-h344/01+-+DI%25C3%2581RIO+NACIONAL+Porto+agosto+-+sertemnro+de+de1820.jpg" width="283" /></a></div><span><div style="text-align: center;"><ul><li><span style="color: #2b00fe;"><div style="text-align: center;">https://www.bestnetleiloes.com/pt/leiloes/livros-94/revolucao-liberal-de-1820</div></span></li></ul></div></span><p></p><div class="separator" style="clear: both; text-align: center;">
<p align="center" class="MsoNormal" style="margin: 0cm 21.25pt 0.0001pt 21.3pt;"><span face=""Verdana","sans-serif"" style="font-size: 11pt; mso-bidi-font-family: Verdana;"><a href="https://cdlsertania.files.wordpress.com/2011/01/imagem.jpg"><span style="color: #2b00fe;">https://cdlsertania.files.wordpress.com/2011/01/imagem.jpg</span></a><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin: 0cm 21.25pt 0.0001pt 21.3pt;"><span face="Arial, sans-serif" style="font-size: 14pt;"><span style="color: #cc0000;">F</span><span style="color: #990000;"><span>ig. 01 – <b> A
pagina de rosto do DIÁRIO NACIONAL da JUNTA SUPREMO GOVERNO PROVISÓRIO do REINO pode ser creditada a intensa
atividade da imprensa na REVOLUÇÃO FRANCESA de 1789 e a sua sustentação popular
pelos jornais. A REVOLUÇÂO do PORTO de 1820 continuou esta
tarefa de divulgar, comentar e sustentar, pela Imprensa. a opinião do POVO de
PORTUGAL. </b>As evidentes corrupções, da primitiva imprensa, davam margem a
longos, custosos e demandas matérias, tentando corrigir estas distorções.</span></span></span></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana","sans-serif"" style="font-size: 14pt; line-height: 150%; mso-bidi-font-family: Verdana;"><span> O numero
com as observações da manutenção da UNIÃO entre PORTUGAL e BRASIL de novembro
de 1820 do CORREIO BAZILIENSE merece a devida atenção. Esta observações, lidas
de uma janela eletrônica de novembro de 2020, mostram um longo, especulativo e
contraditório texto do que trata das CONSEQUÊNCIAS IMEDIATAS e da SUSTENTAÇÂO
CONTINUADA da REVOLUÇÃO do PORTO .<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana","sans-serif"" style="font-size: 14pt; line-height: 150%; mso-bidi-font-family: Verdana;"><span>No consistório do editor deste texto é possivel
interpretar a REVOLUÇÃO do PORTO, iniciada em 24 de agosto de 1820, como o
autêntico movimento que proclamou a INDEPENDÊNCIA de PORTUGAL em relação à sua
COLÔNIA BRASILEIRA. Esta COLÔNIA havia crescido, tronou-se adulta e hospedava a
corte lusitana e neste meio tempo. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana","sans-serif"" style="font-size: 14pt; line-height: 150%; mso-bidi-font-family: Verdana;"><span>Entre as linhas. do texto do CORREIO BAZILIENSE de novembro de
1820, pode ser lido que o BRASIL CRESCIDO e já ADULTO pode dispensar, em
novembro de 2020, a narrativa doo propalado
“GRITO do IPIRANGA”. As justificativas do “GRITO” pode interpretado para
manter as aparência da iniciativa da CASA dos BRAGANÇAS, os privilégios da
nobreza além mar e e a forma e manutenção legal da escravidão na América. Estas
justificativas - caladas e não ditas - permitiram o sucesso da proclamação da
SOBERANIA BRASILEIRA. Porem com o POVO EXCLUIDO e SILENCIADO<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana","sans-serif"" style="font-size: 14pt; line-height: 150%; mso-bidi-font-family: Verdana;"><span>Também no contraditório é possível perceber a
frustração de Hipólito José da COSTA de ver o seu sonho de manter um sonhado
IMPÉRIO LUSITANO UNO e COESO para enfrentar o NEO-CLONIALISMO das demais
nações europeias que necessitavam e criavam MERCADO e MATÉRIAS PRIMAS seguras
para sustentar a ERA INDUSTRIAL na qual estavam apostando e ingressando com
toda a energia disponível.</span></span></p>
<p align="center" class="MsoNormal">. <span style="color: #2b00fe;"><b>CORREIO
BRAZILINSEem NOVEMBRO de 1820 </b><b><i><span style="font-size: 14pt;">VOL XXV. N° . 140 4 B 556" Miscellanea pp. 543
até 570</span></i></b></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Black","sans-serif""><span style="color: #2b00fe;">Reflexoens sobre as novidades
deste mes. REYNO UNIDO DE PORTUGAL BRAZIL E ALGARVES.<o:p></o:p></span></span></p>
<p align="center" class="MsoNormal"><span><span face=""Arial Black","sans-serif"" style="color: #2b00fe;">Revolução de Portugal</span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-left: 14.2pt; text-align: justify; text-indent: 14.15pt;"><span style="color: #2b00fe;"> <b><i><span face=""Verdana","sans-serif"" style="font-size: 14pt; line-height: 150%;"><span>Este
acontecimento he de tal magnitude e importância, para os interesses de todos os
Portngnezes, que naõ da lugar a occupar-nos quasi de algum outro, que lhe naõ
diga respeito ; nem quando o pudéssemos fazer éra de esperar, que nossos
Leitores prestassem devida attençaõ, senaõ a matérias immediatamente connexas
com os recentes successos daquelle paiz. Na parte Política e no principio deste
N.° trasladamos os documentos, que nos tem chegado á maõ, pelos quaes se vê os
progressos da revolução; mas começamos pela patente do Marechal General Lord Beresford,
por ser o de data mais antiga; e assim começaremos tambem por ella as nossas
observaçoens. Quanto ao Marechal General; vinha elle do Rio-de-Janeiro, munido
com os exuberantes poderes, conferidos por esta extraordinária patente, e a
bordo da fragata lngleza, em que fazia a viagem para Lisboa, vinham tambem naõ
pequenos fundos d'El Rey, destinados ao pagamento das tropas de Portugal.
Soube, no mar, do acontecimento da Revolução: mas naõ obstante isso entrou no
porto de Lisboa, na fragata em que vinha, e trazia o dinheiro, e tentou
desembarcar, e exercitar os poderes, que sua nova patente lhe concedia. <o:p></o:p></span></span></i></b></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-left: 14.2pt; text-align: justify; text-indent: 14.15pt;"><b><i><span face=""Verdana","sans-serif"" style="font-size: 14pt; line-height: 150%;"><span style="color: #2b00fe;"><span>Que o Marechal General desse mostras
de querer exercitar sua authoridade, ainda quando a mudança das cousas fazia
esse exercício obviamente impracticavel, podia desculpar-se, na consideração de
que o Marechal julgaria ser de seu dever o mostrar, que, se naõ entrava no
lugar, para que o nomeava a patente, naõ éra isso culpa sita, mas daquelles,
que o naõ quizéram receber.</span> </span><o:p></o:p></span></i></b></p></div><p align="center" class="MsoNormal" style="background: white; text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwNz4DNpe0YaHv-jltJ7EwMaY291z7RwiaEEFsmAx4mY7IKhS611Z2L7pAo5ygQ9VBmhyphenhyphenTaZ0d_I3LksoYq9SOxbJF9FBQH_473epJRIG5cMJ5lvLolf_SsBAiROQ5n8qm8HCfpjRpReTn/s2048/02+-+William_Carr_Bere04+-+sford%252C_Viscount_Beresford_by_Sir_William_Beechey+%25281%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1708" height="338" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwNz4DNpe0YaHv-jltJ7EwMaY291z7RwiaEEFsmAx4mY7IKhS611Z2L7pAo5ygQ9VBmhyphenhyphenTaZ0d_I3LksoYq9SOxbJF9FBQH_473epJRIG5cMJ5lvLolf_SsBAiROQ5n8qm8HCfpjRpReTn/w295-h338/02+-+William_Carr_Bere04+-+sford%252C_Viscount_Beresford_by_Sir_William_Beechey+%25281%2529.jpg" width="295" /></a></div><br /><div style="text-align: center;"><span style="color: #2b00fe;">WLLIAM CARR BERESFORD</span></div><p></p><div class="separator" style="clear: both; text-align: center;">
<p align="center" class="MsoNormal" style="background: white;"><a href="https://pt.wikipedia.org/wiki/William_Carr_Beresford"><span style="color: #2b00fe;">https://pt.wikipedia.org/wiki/William_Carr_Beresford</span></a>
<o:p></o:p></p>
<p align="center" class="MsoNormal" style="margin: 0cm 1cm 0.0001pt 14.2pt;"><span style="color: #990000;"><span face="Arial, sans-serif"><span style="font-size: 14pt;">Fig. 02 – </span></span><b style="font-family: Arial, sans-serif; font-size: 14pt;">Enquanto
o Rei Dom João Vi cumulava o Marechal WIILIAM CAAR BERESFORD a REVOLUÇÂO do PORTO de 1820, </b><span face="Arial, sans-serif"><span style="font-size: 18.6667px;"><b>colocava</b></span></span><b style="font-family: Arial, sans-serif; font-size: 14pt;"> limites presença continuada
deste </b><span face="Arial, sans-serif"><span style="font-size: 18.6667px;"><b>britânica</b></span></span><b style="font-family: Arial, sans-serif; font-size: 14pt;"> na política, na economia e no meio </b><span face="Arial, sans-serif"><span style="font-size: 18.6667px;"><b>militar</b></span></span><b style="font-family: Arial, sans-serif; font-size: 14pt;"> português. </b></span><span face="Arial, sans-serif"><span style="font-size: 14pt;"><span style="color: #990000;">Para
este irlandês bastardo ‘os ideais franceses de LIBERDADE, de IGUALDADE e de
FRATERNIDADE era algo a ser combatido num estado que se queri livre do controle
econômico e militar inglês.</span><span style="color: #c00000;"><o:p></o:p></span></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-left: 14.2pt; text-align: justify; text-indent: 14.15pt;"><b><i><span face=""Verdana","sans-serif"" style="font-size: 14pt; line-height: 150%;"><span style="color: #2b00fe;">Que o Marechal, sabendo da revolução,
e devendo conhecei a irritação universal contra o Governo passado, no que Sua
Senhoria tinha tido tanta parte, se viesse metter em Lisboa, também tem
desculpa; posto que, n'outras circumstancias, tal passo se pudesse
characterízar da mais cega temeridade: terá desculpa aqui; porque S. S. talvez
contasse, no que se naõ enganou, com aincomparavel moderação dos revoltados,
com a brandura do gênio da naçaõ ; com a generosidade extrema, que haveriam de
mostrar, como tem mostrado, para todos aquelles, que olhavam como seus
oppressores antigos. Desta brandura de character, desta magnanimidade em
perdoar, naõ achará o Marechal, de certo, exemplos na sua terra, mas contava
com achar isto, como com effeito achou, em Portugal; e por essa razaõ se lhe
pode mui bem desculpar o ir-se metter em Lisboa; aonde lhe naõ fizeram outro
mal, senaõ mandállo sair de uma terra, que o abhorrecia; e d'onde, por uma
coincidência que o devia ferir, deo a vela no dial8de Outubro, anui versado da
morte do illustre e infeliz Gomes Freire</span><span style="color: #cfe2f3;">. </span><o:p></o:p></span></i></b></p></div><p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Narrow","sans-serif"" style="font-size: 8pt; mso-bidi-font-size: 11.0pt; mso-fareast-language: ZH-CN;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAmxzpwV_bHWMqppHfgIY-G8hvWW13M5bHDKI9MFA1t8AtAXcieIUSAyL_f3wwqBFA9gfea-8u6eL9dD-ARgityrt6yVgagJYbB0TGyo6jzFHyu24jZ4r9YtIeo4lS-6HFTlZOBk6hCVLW/s1600/03+-+Cruz+Gomes+Freire+de+Andrade+-+Oeiras+03.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1074" data-original-width="1600" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAmxzpwV_bHWMqppHfgIY-G8hvWW13M5bHDKI9MFA1t8AtAXcieIUSAyL_f3wwqBFA9gfea-8u6eL9dD-ARgityrt6yVgagJYbB0TGyo6jzFHyu24jZ4r9YtIeo4lS-6HFTlZOBk6hCVLW/w335-h244/03+-+Cruz+Gomes+Freire+de+Andrade+-+Oeiras+03.jpg" width="335" /></a></div><br /><span style="color: #2b00fe;"><span>MEMORIAL GOMES FREIRE </span><span face=""Arial Narrow","sans-serif"" style="font-size: 9pt; mso-bidi-font-size: 12.0pt;"><a href="http://espacoememoria.blogspot.com/2012/10/evocacao-de-gomes-freire-de-andrade.html"><span>http://espacoememoria.blogspot.com/2012/10/evocacao-de-gomes-freire-de-andrade.html</span></a></span></span><span face=""Arial Narrow","sans-serif"" style="font-size: 8pt; mso-bidi-font-size: 11.0pt; mso-fareast-language: ZH-CN;"><o:p></o:p></span><p></p><div class="separator" style="clear: both; text-align: center;">
<p align="center" class="MsoNormal"><span style="color: #990000;"><span><span face="Arial, sans-serif" style="font-size: 14pt;">Fig. 03 – Colina na qual </span><b><span face="Arial, sans-serif"> o General GOMES FREIRE de ANDRADE foi enforcado,
esquartejado, queimado e a suas cinzas jogadas ao mar no dia 28 de outubro de
1817. </span></b></span><span face="Arial, sans-serif"><span><span style="font-size: 14pt;">A REVOLUÇÂO do PORTO de 1820 foi uma resposta a
esta cruel, injusta e arbitrária pena capital aplicada a um dos </span><span style="font-size: 18.6667px;">portugueses</span></span><span style="font-size: 14pt;"><span> mais
ilustrados e que nunca foi esquecido
pelo POVO de PORTUGA</span><span>L</span></span></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-left: 14.2pt; text-align: justify; text-indent: 14.15pt;"><b><i><span face=""Verdana","sans-serif"" style="font-size: 14pt; line-height: 150%;"><span style="color: #cfe2f3;">A</span><span style="color: #2b00fe;">gora, porém, o ter Sua Senhoria ido
metter-se em Lisboa, com o dinheiro que El Rey tinha na fragata, perdoe Sua
Senhoria, mas naõ achamos modo de o desculpar. Nisto só vemos um amor próprio,
uma confiança em si mesmo, e em sua influencia, que naõ vemos meio de
justificar este passo de metter o dinheiro d'El Rey na boca do lobo, por mais
que desejássemos fazer este serviço a Sua Senhoria, Quanto á patente, indica
ella unia contradicçaõ, que nos parece iiieconciliavel. Taõ extraordinários
poderes concedidos ao commandente das tropas, feito assim absoluto e
independente dos Governadores do Reyno, mostra a olhos vistos, que taes
Governadores naõ gozavam da confiança da Corte; e se a naõ gozavam i pára que
conservallos em seus lugares ? Por mais desprezíveis, ou por mais abhorrecidos
que fossem os Governadores, a naçaõ se devia sentir humilhada, na pessoa de
seus Governantes, vendo uma personagem militar, obrando independente delles,
com tam extensos poderes; ainda além da consideração dessa personagem ser um
estrangeiro. A demais, o absoluto e independente commando, que se dava ao
Marechal, sobre as milicias e ordenanças, punha de tal maneira o Reyno todo á sua
disposição, que o desgosto devia ser universalmente sentido; e muito nos
enganamos se esta patente ao Marechal Beresford, naõ fizer uma prominente
figura, na justificação dos motivos da revolução de Portugal. Sabemos mais,
que, mesmo no Rio-de-Janeiro, esta medida encontrou a mais decidida
desapprovaçaõ, da parte de personagens da maior graduação e importância, e de
facto, de lá se mandaram copias da patente, para Lisboa, e para Londres,
acompanhadas das mais amargas queixas contra o Marechal, por ter solicitado, e
obtido, os poderes, que a tal patente lhe concedia. Depois deste infeliz
documento, publicamos a p. 385, a formalidade de prestarem certos titulares o
juramento de obediência ao Governo existente, e á Constituição, que ainda está
para vir; mesmo sem saber se essa Constituição os privará dos títulos e
privilégios, a cuja consideração deveram o ser chamados a este acto. Aquelles,
que, como nós fizemos, tiverem posto uma estrelinha dos nomes dos senhores, que
pediram a Bonaparte um Rey para Portugal, poderão agora pôr a alguns dos mesmos
nomes segunda estrelinha; que formará nova characteristica, em seus pergaminhos
de vanglorias dos antepassados, da coragem com que tem defendido os direitos de
seu Soberano, e os seus próprios. Sejam os primeiros notados, como he devido a
sua alta graduação, os Governadores do Reyno, e seu Secretario, Conde da Feira,
por alcunha, Forjaz, por nome : pois o outro Secretario escapou desta
humilhação, provavelmente por sua insigniricancia. Sirva de cabeceira á lista o
Eminentíssimo Patriarcha, primaz daquelle Governo, que tam denodadamente
ameaçou aos rebeldes do Porto; e agora expedindo no dia 3 de Outubro uma ordem,
para que no dia 4 se cantasse um Te Deum em todas Igrejas, em acçaõ de graças,
pela reunião do Governo Supremo com o provisório de Lisboa, que o tinha
derribado a elle e seus collegas do Governo do li eyno. Venha na cauda o
Secretario Conde da Feira, raettendo-se a assignar, como Governador que naõ
éra, a proclamaçaõ contra os rebeldes, e agora mandandoseu procurador assignar
termo de obediência a esse, que chamou poucos dias antes rebelde Goverdo, e
jurar uma Constituição, que naõ sabe qual será. ¿ Que títulos ? ; Que nobreza
de Portugal! ¿ E pôde alguém admirar-se de que o povo se apoderasse das rédeas
do Governo, vendo-se regido por taes individuos ? Na ordem dos documentos,
segue-se depois a provisão, p, 388, expedida pelo Conselho da Fazenda, pela
qual se extingue uma arrecadação de certo imposto em Santarém. Tal éra o
arranjamento dos senhores empregados naquella repartição, que a somma total do
tributo, que pagava o povo, naõ chegava para satisfazer aos que se occupavam na
sua cobrança. Estes factos naõ carecem commento, e por isso reraettemos o
Leitor para o mesmo documento. Alas se abusos tam escandalosos naõ devem
incitar os povos a clamar pelas reformas, naõ ha desarranjo e desordem dos
governantes, que se possa desap provar. A administração do Correio e seus
abusos, caio ja nas vistas do Governo Provisório, como naõ podia deixar de ser,
e a seriedade com que disso cuida apparece, pelo documento p. 486, em que se
propõem examinar e indagar o estado desta repartição. Metade destas medidas,
que o Governo passado se propuzesse sinceramente adoptar, ninguém teria sequer
sonhado na revolução. A portaria de p. 485, sobre os despachos dos navios nas
alfandegas vem revogando o Alvará de 25 de Abril de 1818, e ode 30 de Maio
deste anno. Este ultimo destinava-se a remediar o abuso com que mercadorias de
outras naçoens se abrigavam com o nome de Inglezas, para gozar dos piivilegios,
que o celebre tractado de Commercio Roevidico dava a estas. Mas este remédio
éra um vexame contra a liberdade do commercio, e portanto um verdadeiro mal,
conseqüência do outro mal. Alas por esta amostra já se pôde ver, como o novo
Governo olha para o tal tractado, e outro sim, como seraõ recebidas em Lisboa
as ordens do Rio-de-Janeiro, que forem oppostas aos interesses de Portugal.
Meditem os Ministros do Brazil neste exemplo da contrariedade a dous Alvarás, e
conhecerão a necessidade de adoptar desde ja um novo systema, se naõ quizereni
ver todos dias com» promettida a authoridade de seu Soberano ; ainda sem
mencionar outras conseqüências mais sérias. Temos depois o Avizo, p. 487, sobre
os leiloens na Casa da índia, por onde se vé, que ja se attende aos
requerimentos dos negociantes, os quaes melhor sabem o que lhes convém, para a
expedição de seu trafico, do que os que governam. A portaria sobre o Terreiro,
p. 488, tem ja produzido algum bem; porque a Commissaõ annunciou, poucos dias depois
de sua creaçaõ, que se podiam começar a vender, sem inconveniente, os trigos do
paiz, com os do estrangeiro. A decadência da Agricultura éra tam conhecida em
Portugal, que até os mesmos Governadores do Reyno a confessaram por mais de uma
vez. Em uma portaria de i) de Maio passado, resolvendo uma Consulta do Conselho
da Fazenda, sobre os Camalhoens do rio Mondego, manda continuar a Administração
" em quanto durarem as calamidades que arruinam presentemente a
agricultura destes lieynos." A Juncta do Commercio, fazendo uma
representação ao Governo, sobre este assumpto, produzio as resoluçoens, que
mencionamos e criticamos em outros Nºs ., e em que appareceo tanto a dieta
Juncta como o mesmo Governo, proferindo as máximas do mais ignorante
despotismo. Paia todo o remédio da decadência da agricultura, naõ lembrou
aquelle Governo senaõ cai regar de imposiçoens ou prohibir de todo a entrada do
gi aõ estrangeiro; naõ se lembrando que o favor e fomento á agricultura, naõ he
para segurar o monopólio dos agricultores, mas paia que todo o povo tenha o paõ
em abundancia e barateza; ora a mera medida de prohibir o graõ estrangeiro, sem
acompanhar isto com outras medidas conrespondentes, éra favorecer o monopólio
do agricultor, e causar a carestía do ma*is necessário alimento do povo. </span><o:p></o:p></span></i></b></p></div><p align="center" class="MsoNormal" style="background: white; text-align: center;"><span face=""Arial Narrow", sans-serif"></span></p><div class="separator" style="clear: both; color: #222222; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLT5diV3hyhztRzdVUjOz76_KVNlnmcGDiW_w4VLWMR2H50YXGxACA-v5L9k74LpYNAPk0sTHKk0cAsFFPy9F8XlAgfe0CTumputR2oP1S5uggCW32kUE6ZLEdcjEqT6W-CCZpTFWBKZIj/s2048/04+-+Sopa_dos_Pobres_em_Arroios_%25281813%2529_-_Domingos_Sequeira.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="2048" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLT5diV3hyhztRzdVUjOz76_KVNlnmcGDiW_w4VLWMR2H50YXGxACA-v5L9k74LpYNAPk0sTHKk0cAsFFPy9F8XlAgfe0CTumputR2oP1S5uggCW32kUE6ZLEdcjEqT6W-CCZpTFWBKZIj/w382-h243/04+-+Sopa_dos_Pobres_em_Arroios_%25281813%2529_-_Domingos_Sequeira.png" width="382" /></a></div><span style="color: #2b00fe;">SOPA dos POBRES
em ARROIOS (1813) por Domingos Antônio de Siqueira o LUZITANO<o:p></o:p></span><p></p><div class="separator" style="clear: both; text-align: center;">
<p align="center" class="MsoNormal" style="background: white;"><a href="https://pt.wikipedia.org/wiki/Sopa_dos_Pobres_em_Arroios_(Domingos_Sequeira)"><span style="color: #2b00fe;">https://pt.wikipedia.org/wiki/Sopa_dos_Pobres_em_Arroios_(Domingos_Sequeira)</span></a><o:p></o:p></p>
<p align="center" class="MsoNormal" style="margin: 0cm 21.25pt 0.0001pt 21.3pt;"><span style="color: #990000;"><span face="Arial, sans-serif"><span style="font-size: 14pt;">Fig. 04 – A </span></span><b style="font-family: Arial, sans-serif; font-size: 14pt;">situação de penúria do POVO de PORTUGAL </b><span face="Arial, sans-serif"><span style="font-size: 14pt;">continuava</span></span><b style="font-family: Arial, sans-serif; font-size: 14pt;"> após REVOLUÇÂO do PORTO. </b><span face="Arial, sans-serif"><span style="font-size: 14pt;">As novas </span><span style="font-size: 18.6667px;">autoridades</span><span style="font-size: 14pt;"> da </span></span><b style="font-family: Arial, sans-serif; font-size: 14pt;">JUNTA SUPREMO GOVERNO PROVISÓRIO do REINO </b><span face="Arial, sans-serif"><span style="font-size: 14pt;">sabiam do poder </span><span style="font-size: 18.6667px;">explosivo</span><span style="font-size: 14pt;"> deste POVO quando privado das suas necessidades básicas e que a
qualquer momento podia voltar-se contra esta ordem provisória e auto </span><span style="font-size: 18.6667px;">proclamada</span><span style="font-size: 14pt;"> através da primitiva imprensa </span></span></span><b style="color: #c00000; font-family: Arial, sans-serif; font-size: 14pt;"><o:p></o:p></b></p>
<p class="MsoNormal" style="line-height: 150%; margin-left: 14.2pt; text-align: justify; text-indent: 14.15pt;"><b><i><span face=""Verdana","sans-serif"" style="font-size: 14pt; line-height: 150%;"><span style="color: #2b00fe;">A mania, (que naõ tem outro nome) de
querer sustentar em tempo de paz um exercito tanto alem do que podiam supportar
as rendas e a população do paiz, éra uma evidente causa da decadência da
agricultura; juncto isto com o vexame desnecessário das milicias e ordenanças,
dificuldades de transportes, ke. Mas o Governo naõ attendendo a nada disto, julgava
tudo remediar cora a prohibiçaõ do graõ estrangeiro. Existia ha pouco tempo nas
provincias grande parte da colheita de 1819, e toda a de 1820; e em Lisboa um
deposito de graõ estrangeiro de 18.308 moios de trigo, l(j.4U8 moios de milho ;
e 3 130 barricas de farinha ; e o arraiei de paõ custava 30 reis, nessa mesma
epocha. Isto mostra o defeito da Administração ; porque naõ éra a falta de
trigo a que fazia a sua carestia, mas sim as oppressoeus e difiiculdades, que
sorTria o agricultor, em conseqüência das quaes lhe ficava o produeto de sua
colheita por um preço intrínseco tam subido, que naõ podia baratear o preço do
paõ, sem se arruinar, e como os estrangeiros de paizes aonde a agricultura naõ
soíliia taes oppressoens, podiam vender em Lisboa o seu trigo mais barato, uaõ
éra factível que o graõ Portuguez entrasse em concurrencia com aqnelle, assim
se dava occasiaõ ao estrangeiro para subir tambem o seu preço e alçar seu
ganho, em mauifesto detrimento do povo. Pela publicação dos mappas do Terreiro
Publico de Lisboa se acha, que em uma semana se vendeo ali 539 inoios 34
alqueires Miscellanea. 549 de trigo, dos quaes somente 29 moios 10 alqueires
eram do produeto do Reyno ou Ilhas adjacentes. Em outra semana de 1077 moios e
28 alqueires, que se venderam, somente 24 moios e 22 alqueires eram do Reyno e Ilhas.
Ein outra semana, de 928 moios e 30 alqueires vendidos, 10 moios e 58 alqueires
eram do Reyno e Ilhas; o demais Estrangeiro. Ora todo o mundo sabe, que as
preferencias nesta repartição eram effeito de mais corrupta admiaistraçaõ,
regulaudo-se tudo por escandalosas peitas. A Commissaõ, pois, agora nomeada
pelo Governo, tende a dar e ja deo em parte, como dissemos, remédio a este mal
immediato, na Administração do Terreiro • as outras causas da carestiado paõ, e
oppressaõ da agricultura, dependem d'outras medidas, que ataquem as raízes dos
males. Ultimamente temos de notar a portaria de p. 488, suspendendo a
prohibiçaõ, que havia, paia a introducçaõ em Portugal dos Periódicos impressos
na língua Portugueza em Paizes Estrangeiros. Pedimos licença ao Senhor Conde de
Palmella, e aos passados e presentes Senhores da Legaçaõ Portugueza em Londres,
para louvarmos tambem esta medida do novo Governo de Portugal. Soas
Excellenciaes e Senhorias, Embaixadores e Secretários mandarão ao Sovela, que
nos aceuse de parcialidade neste louvor. Paciência; soffrereinos a accusaçaõ ;
mas naõ pudemos reprovar esta medida do Governo, porque até os rapazes da
imprensa se ririam de nós ; deixamos essa tarefa da reprovação aos mesmos
dictos Senhores ; e o mais que podemos fazer he prometter de lhe naõ
responderemos nesta parte. A p. 534 publicamos a lista das embarcaçoens
Portuguezas, tomadas ou destruídas pelos corsários em nome d*Artigas , um chefe
de bandidos no interior da America Hespanhola, que naõ possue nm só porto de
mar, nem vaso algum seu armado. Monta o numero dessas embarcaçoens a 38 tomadas
ou destruídas, e 26 roubadas.</span><o:p></o:p></span></i></b></p></div><p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-left: 21.3pt; margin-right: 21.25pt; margin-top: 0cm; margin: 0cm 21.25pt 0cm 21.3pt; text-align: center;"></p><div class="separator" style="clear: both; color: #c00000; font-family: Arial, sans-serif; font-size: 14pt; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu3ozUPlCKu6G8oEgq8PK0oEGtFhqSGnNJu9ICFU25_9OzxVcIFRc7DnnFvzRYvYWdgQJOolWF5uy6zTSb0W__s7iXdj17qHxme2g63oDiv5XwAIQ1PLeEo49dOIOL-vzL1r9InUM37vpu/s916/05+ARTIGAS+em+PIRTO+ALEGRE.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="916" data-original-width="687" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu3ozUPlCKu6G8oEgq8PK0oEGtFhqSGnNJu9ICFU25_9OzxVcIFRc7DnnFvzRYvYWdgQJOolWF5uy6zTSb0W__s7iXdj17qHxme2g63oDiv5XwAIQ1PLeEo49dOIOL-vzL1r9InUM37vpu/w270-h358/05+ARTIGAS+em+PIRTO+ALEGRE.jpg" width="270" /></a></div><span><ul style="text-align: left;"><li style="text-align: center;"><span style="color: #990000;"><span><span face="Arial, sans-serif"><span style="font-size: 14pt;">Fig. 05 – </span></span><b style="font-family: Arial, sans-serif; font-size: 14pt;">A </b><span face="Arial, sans-serif"><span style="font-size: 18.6667px;"><b>invenção</b></span></span><b style="font-family: Arial, sans-serif; font-size: 14pt;"> de inimigos imaginários e
externos sempre foi um expediente da Imprensa para criar bodes expiatórios e
culpados de todos os fracassos de governos instáveis. </b><span face="Arial, sans-serif"><span style="font-size: 14pt;">Assim a rebeldia do
povo indefeso da Província Cisplatina, liderado por José Artigas, criou um mar
juncado de corsários imaginários para encobrir os fracassos da frágil e precária
marinha lusitana</span></span></span><b><i><span face=""Verdana","sans-serif"" style="font-size: 14pt; line-height: 150%;"> </span></i></b></span></li></ul></span><p></p><p class="MsoNormal" style="line-height: 150%; margin-left: 14.2pt; text-align: justify; text-indent: 14.15pt;"><b><i><span face=""Verdana","sans-serif"" style="font-size: 14pt; line-height: 150%;"> <span style="color: #2b00fe;">¿ Que disculpa nos dam desta perda os
Ministros d'El Rey ? ¿Tractarlum tambem disto as negociaçoens do Conde de
Palmella com as Potências Estrangeiras <o:p></o:p></span></span></i></b></p><p class="MsoNormal" style="line-height: 150%; margin-left: 14.2pt; text-align: justify; text-indent: 14.15pt;"><b><i><span face=""Verdana","sans-serif"" style="font-size: 14pt; line-height: 150%;"><span style="color: #2b00fe;">Agora convém dizer alguma cousa, que
sem duvida as gazetas de Lisboa naõ diraõ, e que mui provavelmente os ultras d'
ambos os partidos lá chamarão deitar agoa na fervura. Mas naõ importa o que
diraõ ; porque de contrariedades ao que escrevemos estamos fartos, e por
inconvenientes temporários naõ sacrificaremos nunca o que julgamos verdades
politicas da primeira importância. Ha duas classes de pessoas, cujos conselhos
tem ajudado a perder todos os governos do mundo. Uma classe he a daquelles, que
formam certa theoria de um bem ideal; e sem considerar o tempo, o lugar, as
circumstancias, querem trazer o mundo todo a coincidir com o seu systema de
Governo : estes podem comparar-se com o alfaite, que havendo feito um vestido
mui elegante, mas que naõ ajusta ao corpo da pessoa para quem foi talhado,
obriga a dar mil tregeitos a ver se o vestido serve; mas arrebenta por tini ou
o pano ou as custuras, e queixa-se o alfaiate, que a tal pessoa tem o corpo tam
mal feito, que se naõ pôde accommodar a tam bem acabado vestido. A outra classe
he composta daquelles, que por indolência, timidez, ou motivos ainda menos
perdoaveis, se oppôem a todo o melhoramento ; e para tal gente nada he melhor,
que o estado presente das cousas ; tudo vai bem, tudo vai o melhor possível;
assim basta deixar ir as cousas como vam ; a deitem se a domir todos os que
governam. Para com estes he um louco rematado, quem lhe propõem a menor
reforma, ou o mais insignificante melhoramento; e tanto mais patente e
convencivel he o melhoramento proposto, ou o abuso atacado, tanto mais se temem
do resultado. O argumento desta classe he, que se naõ deixem os custumes antigos;
porque desamparallos he corrupção e ruina. Contra este argumento temos a dizer,
que até as melhores instituiçoens do mundo estaõ sugeitas a serem pervertidas,
simultânea ou gradualmente. Logo as reformas neste caso, naõ saõ desemparo dos
custumes antigos, mas uma volta para elles depois da separação ou alheamento,
que tinham causado os abusos. No outro caso, em que o melhoramento proposto introduza
novo custume, se este he bom, nada ha que reprehender. <o:p></o:p></span></span></i></b></p><p class="MsoNormal" style="line-height: 150%; margin-left: 14.2pt; text-align: justify; text-indent: 14.15pt;"><b><i><span face=""Verdana","sans-serif"" style="font-size: 14pt; line-height: 150%;"><span style="color: #2b00fe;">Os Romanos, combatendo successivamente
todos os povos, que conheceram, largaram sempre seus custumes, para adaptar os
dos outros povos, que achavam melhores, e nada contribuio mais para a sua
grandeza. Procedendo destes princípios, naõ podemos deixar de dizer, que a
reforma em Portugal, he da primeira e da mais absoluta necessidade; mas que o Governo
Provisório está mettido numa carreira tremendamente espinhosa, e em que se
precisa da mais consumada prudência e de nada de fanatismo politico.<o:p></o:p></span></span></i></b></p><p style="text-align: center;">
</p><p class="MsoNormal" style="line-height: 150%; margin-left: 14.2pt; text-align: justify; text-indent: 14.15pt;"><b><i><span face=""Verdana","sans-serif"" style="font-size: 14pt; line-height: 150%;"><span style="color: #2b00fe;"><span> Naõ he de presumir, que se obtenham trutas a
bragas enxutas. El Rey naõ ha de ficar tranquillo espectador do que se passa em
Portugal, sem fazer alguns esforços para obstar a torrente da revolução : e que
o deve fazer naõ haverá homem cordato, que se atreva a negar. Agora se Sua
Majestade terá Ministros que façam essa opposiçaõ a excessos revolucionários,
pela maneira que o devem fazer, e seguindo os princípios de justiça e prudencia,
que devem guiar tam importantes medidas, he o que só o tempo nos poderá
mostrar. Que El Rey deseja pôr as cousas no melhor caminho possível, he o de
que nós nunca duvidamos; e com effeito parece, por todas as declaraçoens
publicas, que o povo de Portugal disso está tambem persuadido. Ora esta
persuaçaõ heja uma grande vantagem, no estado actual das cousas. Mas ; obrarão
os Ministros n'um sentido uniforme e combinado, e com as vistas de justiça que
dirigem seu Soberano ? Esta he a questão. Dizem ja que, em Londres, o Ministro,
que para aqui veio. e que saio de Lisboa, depois de declarada a revolução,
trabalha de concerto com seu predecessor, e com um terceiro (todos nas vistas
do Embaixador, que está em Paris) para fazerem que o Governo Inglez, e as mais
Potências Europeas adoptem certa linha de comportamento, a respeito de
Portugal. Notamos, no nosso N.° passado, entre as medidas de alguns dos
Ministros Portuguezes em varias Cortes da Europa, á cerca de Portugal, que o
Embaixador em Paris negara passaportes a Portuguezes, que queriam ir para
Portugal. Um daquelles, a quem o Embaixador fez esta violência, foi o
Commendador Sodre, o qual illudio as tramas do Embaixador, e veio ter a
Londres. Aqui pedio tombem passaporte ao Ministro, D. Jozé Maria de Souza, o
qual, obrando nas mesmas vistas do Marquez de Marialva, negou-se a dar o
passaporte. Talvez a Embaixada ache algum Padre Amaro, ou Padre Jozé Agostinho,
ou outro qualquer Padre periodista, que negue este facto, em elogio da mesma
Embaixada; mas estimaríamos, que a negativa apparecesse, em quanto aqui está o
indivíduo, que pôde attestar da verdade do caso. Além disto achamos, em um
artigo de Stialsund, de 4 de Novembro o seguinte:— " O Embaixador
Portuguez, juncto á Córte Prussiana, informou o Ministério dos acontecimentos
do Porto e Lisboa, e requereo," que se expedisse uma ordem a todos os
navios destinados a Portugal, para que presentemente naõ saíssem dos portos.
" A isto se respondeo, que" ainda que o Governo naõ reconheça a nova
ordem de cousas em Portugal, naõ pôde, com tudo, dar passo algum hostil contra
aquelle paiz; naõ havendo ainda nenhuma naçaõ dado exemplo de tal cousa. "
O Ministério expressou tambem, que uma prohibiçaõ desta natureza encontraria
muitas difiiculdades. Os negociantes e donos de navios esperam, que tal cousa
se naõ conceda em caso algum, a menos que o Ministro Portuguez naõ se obrigue a
todos os vassallos Prussianos, assegurando a indemnizaçaõ das perdas, que
possam soffrer, em conseqüência de tal prohibiçaõ." Ora, he evidente, que
tudo quanto se fizer, sem ordens do Rio-de-Janeiro, e sem ser fundado nas
combinaçoens daquelle Gabinete, naõ pôde deixar de augmentar a confusão, do que
tirarão todo o partido, as diversas facçoens, que existem em Portugal. O
presente Governo Provisório naõ deve julgar, que tudo isto he bagatella. Se o
Governo Provisório puzer inteiramente de parte, o que naõ suppomos, a
authoridade d'El Rey, ao ponto de que o Soberano recorra a medidas coercitivas
; como Portugal só de per si naõ pode manter-se, necessariamente chamará em seu
auxilio a Hespanha; esta começa ja, como ao diante veremos, a tomar um pretexto
nos negócios de Monte-Vedio, para se embaraçar com a Corte do Brazil:
ajuncte-se a isto o partido Hespanhol em Lisboa, e ver-se-ha, nesta hypothese,
o labyrinto em que se achará o Governo Provisório</span>. </span><o:p></o:p></span></i></b></p><p align="center" class="MsoNormal" style="background: white; text-align: center;"><span style="font-size: 10pt;"></span></p><div class="separator" style="clear: both; color: #222222; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjywP_s0ltdeYc_Fyq7jhlzxLVfcpxQ1vBz6Y_cr6iWo7xNAzXHWLlJwep-kySkmQOy3bdAl6sLRjOQTltMUmja3EHTKpbDKHeX9zlyFuISJg6umYiW-8fwQlfhbBaf7mj0pWtswOznBB3W/s1998/06-+Primeiro_Duque_de_Palmela%252C_D._Pedro_de_Sousa_Holstein_-_Thomas_Lawrence_%25281769-1830%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1998" data-original-width="1600" height="363" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjywP_s0ltdeYc_Fyq7jhlzxLVfcpxQ1vBz6Y_cr6iWo7xNAzXHWLlJwep-kySkmQOy3bdAl6sLRjOQTltMUmja3EHTKpbDKHeX9zlyFuISJg6umYiW-8fwQlfhbBaf7mj0pWtswOznBB3W/w276-h363/06-+Primeiro_Duque_de_Palmela%252C_D._Pedro_de_Sousa_Holstein_-_Thomas_Lawrence_%25281769-1830%2529.jpg" width="276" /></a></div><br /><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><span style="color: #2b00fe; text-align: center;">Pedro de SOUSA
de HOLSTEIN (1781-1850) Duque de PALMELLA</span><br /><span style="background-color: white; color: #2b00fe; font-size: 10pt; text-align: center;"> </span><span style="background-color: white; color: #2b00fe; font-size: 10pt; mso-bidi-font-size: 12.0pt; mso-fareast-language: ZH-CN; text-align: center;"><a href="https://pt.wikipedia.org/wiki/Pedro_de_Sousa_Holstein,_1.%C2%BA_Duque_de_Palmela">https://pt.wikipedia.org/wiki/Pedro_de_Sousa_Holstein,_1.%C2%BA_Duque_de_Palmela</a></span><br /><span style="background-color: white; color: #2b00fe; font-size: 10pt; text-align: center;">na
Revolução do Porto</span></blockquote><p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span style="font-size: 9pt; mso-bidi-font-size: 12.0pt; mso-fareast-language: ZH-CN;"><a href="http://mapa.an.gov.br/index.php/publicacoes2/70-biografias/448-pedro-de-sousa-e-holstein-duque-de-palmela"><span style="color: #2b00fe;">http://mapa.an.gov.br/index.php/publicacoes2/70-biografias/448-pedro-de-sousa-e-holstein-duque-de-palmela</span></a></span></p><p></p><p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 35.45pt; margin-top: 0cm; margin: 0cm 35.45pt 0cm 14.2pt; mso-hyphenate: none; text-align: center;"><span style="color: #990000;"><span face="Arial, sans-serif" style="font-size: 14pt;"><span> </span><span>Fig. 06 –
</span></span><span><span face="Arial, sans-serif"><span style="font-size: 14pt;"><b>O CONDE de PALMELLA era
um vinculo com as demais cortes europeias e dos </b></span><span style="font-size: 18.6667px;"><b>círculos</b></span><span style="font-size: 14pt;"><b> de nobreza com que
custavam assimilar e praticar os ideais de LIBERDADE, de IGUALDADE e de
FRATERNIDADE.</b></span></span><span face="Arial, sans-serif" style="font-size: 14pt;"> Nesta condição permaneceu fiel
a poder monárquico absolutista luso. Assdim se tornou akvo da imprensa
inclusive do CORREIO BRAZILIENSE da qual
sofreu as culpas dos reveses e o gozo as glórias nas oscilações dos sucessivos sistemas excludentes e
contraditórios do governo da NAÇÂO PORTUGUESA</span></span><b><span face="Arial, sans-serif" style="font-size: 14pt;"><span> .</span><span><o:p></o:p></span></span></b></span></p><p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 35.45pt; margin-top: 0cm; margin: 0cm 35.45pt 0cm 14.2pt; mso-hyphenate: none; text-align: center;"><b><span face=""Arial","sans-serif"" style="color: #c00000; font-size: 14pt;"> <o:p></o:p></span></b></p><p style="text-align: center;"></p><ol><li><span style="color: #2b00fe;"><b style="text-align: justify; text-indent: 14.15pt;"><i><span face=""Verdana","sans-serif"" style="font-size: 14pt; line-height: 150%;">Os grandes esforços que fez o Conde de
Palmella e o Marquez de Marialva, para mostrar ao mundo que naõ havia em Portugal
um partido, que queria por o Duque de Cadaval no throno daquelle Reyno ; o
nenhum êxito que tiveram esses esforços, em convencer o publico do contrario,
como se prova atè mesmo pelas proclamaçoens da Juncta Provisória no Porto .* o
facto de serem os Duques de Cadaval e Alafoens os primeiros, que juraram
obediência a esse Governo Provisório, e á Constituição, que está para vir, e
que nem esses Duques que a juraram sabem qual será: o outro facto de haver sido
o actual Embaixador em Paris o tutor, como he o tio, daquelles dous Duques, e
seu Conselheiro ; tudo isto mostra, que o Governo Provisório achará
difiiculdades em sua carreira, que naõ seraõ tam fáceis de alhanar, com he
obvio contemplar. Os aristocratas, que favoreciam esses partidos, e que por seus
suppostos interesses deram azas á revolução, claro está que seraõ agora contra
ella, em tanto quanto naõ se lhes permitte reger o timaô do Estado. Assim, se
até aqui a revolução contou com elles, daqui em diante terá nelles decidida
opposiçaõ. Os desse partido uniam-se ao grito da naçaõ, de que eram necessárias
as reformas ; mas uniam-se, em quanto esperavam que elles fossem os
reformadores. Agora haõ de negar todo o apoio ao Governo Provisório, haõ de
apellar para as naçoens estrangeiras ; haõ de intrigar nos Gabinetes da Europa;
haõ de fingir mesmo que estaõ da parte d'El Rey, tudo a fim de deitar abaixo a
ordem de cousas estabelecidas, em que elles naõ tem parte, a ver se nova
combinação se produz, em que tenham a supremacia . E no meio disto, laborando a
intriga de Hespanha, para pescar nas águas envoltas, e pretextaudo o Gabinete
Hespanhol disputas com El Rey, e offerecendo protecçaõ ao Governo Provisório,
chegar ao desejado ponto, que tem sido o objecto por que a Hespanha anhelaia em
todos os tempos. ¿ Qual he o remédio disto ? Que El Rey cuide seriamente no
remédio dos males, que para com os facciosos serviu de pretexto para fomentar a
revolução; e para com os honrados cidadãos foi causa de a approvarem. Que o
Governo Provisório sinceramente se preste á obediência d'El Rey, naõ de
palavras, mas de facto. Se ambas as partes obrarem neste sentido, poderão
desfazer as tramas, que se urdem contra ambas ; do contrario nada vemos senaõ
accumuladas difiiculdades, nas quaes por ora o publico naõ pensa; porque está
cheio do enthusiasmo, que lhe provem da alegria de ver derribado tam incapaz
Governo como éra o passado. Além das razoens geraes, que nos induzem a esta
recoramendaçaõ, ha para ella uma particular, que nos obriga a deliberar assim ;
e he, na hypothese de que o Governo de Portugal, ou as futuras Cortes, desejem,
como nós desejamos, a continuação da uniaõ de Portugal coin o Brazil, porque
sem a cordeal cooperação d'El Rey, he impossivel que tal uniaõ se possa
verificar; o que ja começa a apparecer, nas diversas opinioens, que se tem
manifestado, sobre o modo de representar, em Cortes, as províncias do Brazil.
Depois de escripto e estar no prelo este N.°, recebemos noticias de Lisboa,
segundo as quaes havia a Juncta do Governo Supremo expedido uma circular aos
Magistrados Presidentes das eleiçoens, acompanhando as instrucçoens, para
regular as eleiçoens dos Deputados das Cortes Extraordinárias Constituintes. O
dia 26 de Novembro, foi o que se fixou para a eleição dos Eleitores; os quaes
deviam concorrer nas cabeças das comarcas, para elegerem os Depntados, no dia 3
de Dezembro; e procederem logo para Lisboa, aonde as Cortes se deviam ujunctar
aos 6 de Janeiro de 1821; em numero de cousa de cem Deputados. Estas medidas,
porém, se tornaram nullas ; por uma opposiçaõ dos militares, que desejavam
expulsar da Juncta Provisória alguns de seus membros.</span></i></b> </span></li></ol><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNTIfnckaVHRluSKXRwd7FmcnDGFB3-ZD1Bl6eaaGV3HlAOuZtGc9OS-PlmOpyzPa4CfiSWyCkoS2WS8YAoS9VB6eqo7rY7-F7QjZMxgtXFgSGriXpSoPB6ij1eWCTF3B6yo9l-h2evqce/s2048/03+-+revolua_a_o_liberal_do_porto_alegoria_bb.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1580" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNTIfnckaVHRluSKXRwd7FmcnDGFB3-ZD1Bl6eaaGV3HlAOuZtGc9OS-PlmOpyzPa4CfiSWyCkoS2WS8YAoS9VB6eqo7rY7-F7QjZMxgtXFgSGriXpSoPB6ij1eWCTF3B6yo9l-h2evqce/s320/03+-+revolua_a_o_liberal_do_porto_alegoria_bb.jpg" width="320" /></a></div><p class="MsoNormal" style="line-height: 150%; margin-left: 14.2pt; text-align: justify; text-indent: 14.15pt;"><span style="color: #990000;"><span><span face="Arial, sans-serif" style="font-size: 14pt; text-align: center;">Fig. 07 –</span><span face="Arial, sans-serif" style="font-size: 14pt; text-align: center;"> </span><b style="font-family: Arial, sans-serif; font-size: 14pt; text-align: center;">Os ideais de LIBERDADE, de IGUALDADE e de FRATERNIDADE jogados repentinamente sobre o PODER ORIGINÀRIO do POVO de PORTUGAL e tornando-o nominalmente responsável pélos destinos da NAÇÂO LUSA. </b><span style="text-align: center;"><span face="Arial, sans-serif"><span style="font-size: 14pt;">Estes ideais abstratos e </span><span style="font-size: 18.6667px;">metafísicos</span><span style="font-size: 14pt;"> foram mal assimiladas e sem suporte na vida material preludiam o POPULISMO que se alastrou sobre sobre as pátrias em formação e que continua, a mostrar as suas consequências econômicas, </span><span style="font-size: 18.6667px;">sócias</span><span style="font-size: 14pt;"> e politicas inclusive</span></span></span><span face="Arial, sans-serif" style="font-size: 14pt; text-align: center;"> </span><span face="Arial, sans-serif" style="font-size: 14pt; text-align: center;">BRASIL de novembro de 202</span></span><span face="Arial, sans-serif" style="font-size: 14pt; text-align: center;"><span>0</span></span></span></p><p class="MsoNormal" style="line-height: 150%; margin-left: 14.2pt; text-align: justify; text-indent: 14.15pt;"><span style="color: #2b00fe;"><b style="text-indent: 18.8667px;"><i><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 28px;">No d</span></i></b><b style="text-indent: 14.15pt;"><i><span face=""Verdana","sans-serif"" style="font-size: 14pt; line-height: 150%;">ia 11 de Novembro ajunctaram se as
tropas, sob pretexto de uma revista, e debaixo do Conluiando do Marechal Gaspar
Teixeira : distribuiram-se cartuchos á infanteria, e a aitilhería accendeo as
mechas; e mandaram buscar o Juiz do Povo; por cuja intervenção, em vez de
lançar tora da Juncta os seis membros, que se queriam expulsar, se arranjou o
negocio introduzindo na Juncta outros mais, que fórum o Conde de Sampaio, Pedro
Leite Pereira de Mello, Jozé Manuel Ferreira de Souza, e Francisco de Souza
Cinte de Madureira. Além disto, desattendidas as determinaçoens publicadas,
sobre o ajunctamento das Cortes, jurou-se a Constituição Hespanhola, e se determinou
proceder á eleição de Deputados para as Cortes, segundo ella determina. O
pretexto desta revoluçsõ foi a demora que haveria no ajunctamento das Cortes ;
mas se se seguirem as formalidades da Constituição Hespanhola, naõ he possível
que as Cortes se aj une tem antes dos 6 de Janeiro, como estava determinado. O
estar ja este N° na imprensa, quando estas noticias recebemos, nos obriga a
differir, para o seguinte, a publicação dos documentos, que respeitam estas
importantes transacçoens. Além do dinheiro, que por ordem de S. M. veio para
Lisboa, a bordo da náo Ingleza Vengeur, chegaram tambem duas loiras de sessenta
contos sobre Londres, e o annuncio desta «idade, que seriam remettidos ao
Erário de Lisboa, antes do fim deste anno, mais 180 contos de reis, o que tudo
faz a somma d« 400 coutos de reis, ou um milhaõ de cruzados, com que £1 Rey
mandava acudir ás principaes urgências do Estado, Partido Roevidico. Appareceo
o Manifesto Politico do Partido Oligarchico, em forma de refutaçaõ do
Correio-Braziliense, ou justificação do Conde de Palmella, e de um dos
comparças desse partido, um Senhor Guerreiro, que pelo nome naõ perca. Naõ
quizeram publicar os seus arrazoados em Auto separado e valéram-se de um
folheto, que aqui em Londres se imprime ha algum tempo, e que promettêra em sua
introducçaõ naõ se metter em altas políticas, por serem cousas fora de seu
alcance. Nesse folheto, pois, saio o Partido Roevidico com a sua producçaõ, que
sem duvida he preciosa ; porque discute, e nos dá occasiaõ a discutir, o character
publico de seus cabeças; pessoas que ha algum tempo tem occupado muitos
empregos de alta importância, que nelles se tem portado muito mal; e que no
entanto tem querido, e querem ainda, impor ao publico, como pessoas de
relevante merecimento, e a quem a naçaõ deve ser obrigada, pelos úteis serviços
que lhe tem feito. Quanto ao que dizem do Correiro Braziliense e seu Redactor,
naõ convém que lhes façamos por agora a vontade, mixturando o que nos diz
respeito particularmente, com os objectos de importância nacional; que he o
púnto de que naõ devemos soflrer que nos desviem. E com tudo diremos aqui duas
palavras, sobre o Correio Braziliense, em um dos pontos de accusaçaõ ; porque
interessa ao publico. Diz este manifesto, em uma parte, que o Correio Braziliense,
Adam dos Periódicos Portuguezes em Londres, he a eausa remota da revolução : em
outra parte diz, qne os Periódicos arrogam a si o merecimento da revolta : mas
que tal naõ ha; porque elles naõ saõ os que tem dirigido a opinião publica; mas
sim esta os tem dirigido a elles. Naõ nos lembra, que em parte alguma deste
Periódico nos attribuissemos algum mérito ou demérito á cerca da revolução; mas
quanto á causa remota, posto que he natural, que um homem tam falto de educação
literária, como he o Senhor Gutriciro, naõ entenda esses termos, com tudo, pelo
que respeita o publico, declararemos qual rem sido, e he, a nossa opinião,
sobre essas causas remotas da revolução, que se fez pelo descontentamento do
povo. Era causado descontentamento do povo a mà administração : éra causa
desses homens continuarem em sua mà conducta, a falta de responsabilidade
publica nos empregados. Eis aqui a série de causas e effeitos, que produziram a
revolução ; e como o Correio Braziliense, nunca desejou esta, clamou sempre por
uina reforma, que trouxesse com sigoessa responsabilidade; mas como isto nunca
se fez, chegou a revolução, como necessariamente havia de chegar, fossem quaes
fossem os desejos do Correio Braziliense; continuando a existir a tal falta de
responsabilidade. Como naõ havia esta, se o Thesoureiro commettia furtos, se o
Governador éra despotico, pouco importava mudar as pessoas; pois o Thesoureiro
feito Covernador obraria despotismos, e o Governador feito thesoureiro
commetteria os furtos; e se em algumas dessas pessoas havia excepçaõ, isso naõ
tirara a necessidade da regra geral, em dever existir uma responsabilidade
publica efficaz, que tranquillizasse as suspeitas do povo, a respeito de todos
os empregados. Entremos agora no objecto principal do Manifesto. Começaremos
pelo Senhor Guerreiro, deserapachando primeiro o monturo, por ser elle o que se
raetteo a ser o escriptor do manifesto, a favor desse partido Roevidico,
intitulando-se agora o Commendador Guerreiro, talvez porque lhe tenham dado
alguma commenda, como se tal commenda a tal indivíduo produzisse mais effeito,
em o recommendar ao respeito publico, do que o habito de Criisto ao Gallego
Juliaõ da Neve, em Lisboa, elevou aquelle botiquineiro a maior
respeitibalidade, do que podia aspirar, seivindo ao publico com boa neve: e
como se o mundo ainda naõ soubesse distinguir entre o favor da Corte, e o
prêmio do merecimento. Diz este manifesto, que falíamos no Guerreiro, só porque
rima com Carneiro, Pelo que respeita a Carneiro, elle que se justifique e se
defenda, se achar que lhe convém, emas suas cartas em que o tractou de cogumelo
Roevidico, tem mostrado, que naõ teme medir-se com seu antagonista : quanto a
nós, só nos julgamos responsáveis pelo que nós mesmos dizemos, e assim
declaramos, que a mençaõ de Guerreiro, naõ he porque rime ou deixe de rimar com
Carneiro ; he sim porque Guerreiro, he um dos com parcas desse partido, e
convém que o publico conheça quem saõ os que o compõem, e se acautelle de suas
tramas. Com grande singeleza nos diz o manifesto, que dirá o que souber contra
o Senhor Guerreiro; naõ haja medo que elle dê em si, naõ he tam louco que o
faça, ainda que seja assas ignorante, para nos dar armas com que o bater. Diz o
manisesto, que ignorava a existência de um partido Roevidico. Mui depressa se esqaeceo
o Senhor Commendador Guerreiro, que deve as suas promoçoens a ter sido
lambe-pratos do Conde de Linhares, e mui ignorante deve ser, se até ignora que
aquella familia he conhecida pelo alcunho de Roe-vides. Esse partido, he o
mesmo, que o manifesto diz que Re-Portugal, como lho mostraremos ; porque ainda
naõ temos acabado com elle. Continua o Manifesto, fatiando como em nome do
folheteiro, que se tem callado a respeito do Senhor Commendador Guerreiro;
porque " a este ninguém nega os conhecimentos necessários para exercer o
lugar que occupa, que naõ chegou a obtello senaõ por accesso, depois de muitos
annos de serviços, seguindo sempre a mesma carreira, &c." Isto ninguém
o podia dizer do Guereiro senaõ elle mesmo. Que carreira he a sua ? ¿ quaes os seus conhecimentos ? ¿ Aonde fez
os seus estudos ? Começou no mundo, sem educação literária, pois apenas sabe
lêr e escrever; teve por emprego ser doméstico do Conde de Linhares : a
influencia deste o empalmou em Londres para Secretario de Legaçaõ, e com seu tênue
ordenado, se vê um homem rico, pois aqui se declarou em publico, pela imprensa,
o que Guerreiro nunca negou, que tinha muitas mil livras no Banco de
Inglaterra. Agora se a habilidade Diplomática consiste em um Secretario de
Legaçaõ ter ajuuctado muito dinheiro, sem outros meios, do que o seu tênue
salário, naõ saõ essas as habilidades de que a naçaõ necessita nesses empregos.
Taes saõ os príncipios, taes os degráos de promoção, que tal homem chama
accesso, depois de muitos annos de serviço ! Mui pouco importaria qual éra a
origem desse indivíduo, se elle tivesse os conhecimentos e a capacidade
necessária, para qualquer encargo que occupasse: mas quando estes faltam, e
elle provoca a inquirição publica, allegando com o mérito de sua carreira; he
essencial que se saiba, qual essa carreira tem sido; e porque espécie de
serviços se acha elle mettido na roda, dos que tem arruinado Portugal.</span></i></b></span></p><p class="MsoNormal" style="line-height: 150%; margin-left: 14.2pt; text-align: justify; text-indent: 14.15pt;"><b><i><span face=""Verdana","sans-serif"" style="font-size: 14pt; line-height: 150%;"><span style="color: #2b00fe;">Passaremos agora á historia do tal
Partido Oligarchico. O corifeo desse partido, o
1º Conde de Linhares, para se escorar com o apoio Inglez, fez o tractado
de Commercio, de 1810, que tem sido a pedra de escândalo, assim como perene
fonte de miséria á Naçaõ Portugueza, bem como o tractado de Alliança da mesma
epocha. Sobre este diz o manifesto do Senhor Commendador Guerreiro, querendo
louvar o Conde de Palmella (a quem ao depois faremos devida acatadura) que
" abolio o tractado de Alliança de 1810, do qual alguns artigos eram
oppressivos e contrários à independência da Coroa de Portugal. Aqui temos o
mesmo Senhor Commendador Guerreiro characterizando o tractado, que fez seu
defuncto amo o Conde de Linhares, e declarando que continha artigos oppressivos
e contrários á independência da Coroa de Portugal. Que tal era a natureza desse
vergonhoso tractado, dessa infame producçaõ de um Ministro d' EI Rey, que se
queria apoiar com a protecçaõ da Potência Estrangeira com quem negociava, he o
que o Correio Braziliense expoz, logo que elle saio á luz, e pelo que mereceo,
que, por um avizo do mesmo Conde de Linhares, se mandassem prohibir em Lisboa,
naõ só o Correio Braziliense, mas todas as abras do seu furioso author. Tal he
tambem hoje em dia a opinião de todo o Portuguez, que nessas matérias tem
meditado. Mas o que admiraria lie a eircumstanciã de fazer tambem agora a mesma
declaração o ex-lambe-pratos do Conde de Linhares, fabricador do tal tractado;
e porém a admiração deve cessar, quando se considera, que ja naõ ha que esperar
do Conde que he morto, por isso se lhe bate, para elogiar o outro Conde, que
está vivo, e de quem se esperam ainda algumas rabiscas favoráveis. Pela morte
desse 1º Conde de Linhares se seguiram no Ministério do Rio-de-Janeiro dous
individuos, que por motivos bem diversos cuidaram em empregar pessoas as mais
impróprias, nos lugares da maior ponderação. Foram estes ministros o Bezera, e
o Conde da Barca. O Bezerra, como quem tinha sido creatura, em grande parte,
dos Roevides, cuidou em empregar tudo quanto pertencia á sua pandilha, e nessa
redada foi mui attendido o compai ça Guerreiro.</span></span></i></b></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu9Zs44eBxBwvog5oEWubpLDzJlqJlMwkVy_9KxoZEmWj_bpwnkeVndL6z_RbmFyKjyp0-XvgP5Jr3z-Wp6EGC1uDVa0a3qN-c_Hg539W30sc1sc2t-Td_WyhCTfAVd9b4iC3zlHtyAZCC/s615/08-++-+CONDE+da+BARCA++-+1752-1817+-+intermediou+a+vinda+da+Miss%25C3%25A3o+Art%25C3%25ADstica+Francesa.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="615" data-original-width="516" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu9Zs44eBxBwvog5oEWubpLDzJlqJlMwkVy_9KxoZEmWj_bpwnkeVndL6z_RbmFyKjyp0-XvgP5Jr3z-Wp6EGC1uDVa0a3qN-c_Hg539W30sc1sc2t-Td_WyhCTfAVd9b4iC3zlHtyAZCC/w307-h346/08-++-+CONDE+da+BARCA++-+1752-1817+-+intermediou+a+vinda+da+Miss%25C3%25A3o+Art%25C3%25ADstica+Francesa.jpg" width="307" /></a></div><span><div style="text-align: center;"><span style="color: #990000;"><span face="Arial, sans-serif" style="font-size: 14pt;">Fig. 08 – </span><span face="Arial, sans-serif" style="font-size: 14pt;">–<b> O CORREIO
RAZILINSE transformou em </b></span><b><span face="Arial, sans-serif"><span style="font-size: 14pt;">alvo</span><a href="file:///C:/Users/Simon/Documents/07%20-%20N%C3%82O%20FOI%20no%20GRITO/203%20-%20CONSEQU%C3%8ANCIAS%20e%20a%20SUSTENTA%C3%87%C3%82O%20REVOLU%C3%87%C3%82O%20do%20PORTO/0-203%20CONSEQU%C3%8ANCIAS%20e%20a%20SUSTENTA%C3%87%C3%82O%20REVOLU%C3%87%C3%82O%20do%20PORTO.doc#_ftn1" name="_ftnref1" title=""><sup><b><sup><span style="font-size: x-small;">[1]</span></sup></b></sup></a><span style="font-size: 14pt;"> o 1º Conde da Barca ou Antônio
de Araújo e Azevedo (1758-1817) -</span></span></b><b><span face="Arial, sans-serif" style="font-size: 14pt;"> Ministro e Secretario de Estado dos
Negócios da Marinha e Domínios Ultramarinos</span></b><b><span face="Arial, sans-serif" style="font-size: 14pt;"> do Reino Unido Portugal Algarves e
Brasil</span></b><b><span face=""Arial Narrow", sans-serif" style="font-size: 14pt;">. </span></b><span face="Arial, sans-serif" style="font-size: 14pt;">Para tanto que opoz uma </span><span face="Arial, sans-serif" style="font-size: 14pt;">feroz resistência e o constante
patrulhamento ideológico. Assim silenciou a vinda da Missão Artística Francesa. e a criação deoutras
instituições científicas e uma alentada biblioteca de iniciativa do CONDE da
BARCA e que continuam ativas no Brasil
em novembro de 2020 </span></span></div></span><p></p>
<p class="MsoNormal" style="line-height: 150%; margin-left: 14.2pt; text-align: justify; text-indent: 14.15pt;"><b><i><span face=""Verdana","sans-serif"" style="color: #2b00fe; font-size: 14pt; line-height: 150%;"><span>O Conde da Barca, que éra inimigo da
tal facçaõ, escorou-se, empregando, e protegendo muitos dos Afrancezados,
porque assim cubria tambem suas mazelas, e favorecia o partido da Casa de Ponte
de Lima, e Marialva, que tinham abraçado a causa dos Francezes contra El Rey,
Mortos, porém, aquelles Ministros, seus respectivos sequazes déram-se as maõs,
para se poderem mutuamente suster: uns defendiam o que faziam os outros, e no
meio disto continuavam os males de uma péssima administração em Portugal, aproximava-se
a crise da revolução, e quando EI Rey dava ordens contavam-lhe historias, como
se tem demonstrado, em infinitos exemplos. Se continuamos a chamar a esse
partido assim amalgamado, pelo nome de Roevidico. he porque teve seu principio
nos três Gerioens irmaõs, um no Rio-de-Janeiro, outro em Londres, outro em
Lisboa. Triumvirato tam poderoso, que nem depois de demonstrados os males, que
tinham feito á Naçaõ, principalmente com o desaventurado tractado de Commercio,
tiveram Miscellanea. 561 outro castigo mais do que a continuação de mercês, a
elles e a seus apaniguados. Vamos agora ao Conde de Palmella, Corifeo dos
Aristocratas em nossos dias, e principal objecto dos louvores deste manifesto.
A primeira vez, que appareceo este indivíduo na vida publica, foi assignandoa
petição a Bonaparte para que desse um Rey a Portugal. Ninguém supporia, que tal
qualificação servisse a este fidalgo, paraintroducçaõ ao serviço de S. M.
Fidelissima; mas, por efeito daquella fatal estrella, que tem perseguido
Portugal ha tantos annos, foi pouco depois este mesmo homem nomeado para
Ministro de seu Soberano, juncto ao Govemo Hespanhol, durante as Cortes de
Cadiz. Ja se vê, que o Conde com tal nodoa, havia bem guardar-se de abrir a
boca contra aquella classe de inimigos da Pátria; e supposto que entre elles
houvese uns mais, outros menos criminosos; julgou-se mais prudente fechar os
olhos a todos, fazendo-se de vez em quando excepçoens parciaes, sem nunca se
estabelecer uma inquirição geral, pela qual se fizessem as devidas distincçoens,
tanto nos castigos, como nas absolviçoens. Esta máxima servia a homens
poderosos no Rio-de-Janeiro, que tinham seus parentes implicados na mesma
derrota, e assim passou o Conde sem a menor observação. Depois de sua
residência de em Cadiz, foi nomeado para a Enviatura em Londres. Todo o mundo
sabe, que he verdade o que disse o Correio Braziliense, que o Conde de Funchal
uaõ quiz entregar o lugar ao Conde de Palmella, quando aqui chegou a Londres. A
resistência do Conde de Funchal foi tam grande, que até lhe veio um Aviso de
ameaça, lançado em termos de lhe fazer as faces vermelhas; e sáe-nos agora o
Senhor Commendador Guerreiro, neste manifesto, declarando, que se o Conde de
Palmella, quando veio para Londres naõ insistio em entrar no lugar, foi porque
teve ordem da Corte para o naõ fazer. Quizeramos agora, que este láiube-pratos
do Conde de Linhares nos explicasse ¿ para que mandou El Rey o Conde de
Palmella a Londres, se lhe deo ordem para que naõ insistisse em entrar no seu
lugar ? Isto seria uma contradicçaõ manifesta no proceder d'El Rey ; mas uaô
impoita ao Senhor Commendador Guerreiro, que El Rey appareça contradictorio,
com tanto que se explique decentemente a pertinácia do Conde de Funchal, e a
suhinissa paciência do Conde de Palmella ; salve-se a apparente consistência de
ambos, e recaia a culpa em quem recair. De Londres foi o Conde de Palmella
inundado ao Congresso de Vienna, e faz aqui o Senhor Commendador Guerreiro o
uutcm genuit dos serviços do Conde. Naõ entraremos por agora no exame miúdo
desses serviços. em nutra occasiaõ d irem os mais alguma cousa, que ttiuus a
dizer sobre esse ponto. Mas, perguntaremos, ao Senhor Couimendador Guerreiro; ¿
porque carga d'agua attribue elle Guerreiro todos os suppostos serviços, uo
Congresso de Vienna, somente ao Conde de Palmella, quando eram três os
Plenipotenciarios de Portugal? A resposta está á maõ; porque he do Conde de
Palmella, que o Senhor Commendador Guerreiro tem recebido, e naõ dos outros, os
favores, que olha como parle, e espera pelo resto, do prêmio de seus muitos
annos de wn viço. Falle-se logo no Conde de Palmella, e os outros fiquem-lhes
os nomes no tinteiro, quando se tracta de louvores. Continuando; diz o Senhor
Commendador Guerreiro, que " bem longe de dizer só A no Congressso, foi o
Conde de Palmella lá declarar, que El Rey nuò ratificava o tractado de
Paris." Bem, Senhor Commendador Guerreiro Diplomático ¿ quem fez o
tractado de Paris ? O seu passado amigo e protector, irmaõ de seu amo. ¿ E que
castigo teve, como devia ter, por fazer esse miserável tractado, que El Rey
desappiovou ? Nenhum, nem nisso julga o Senhor Commeudador Guerreiro, que he
preciso fallar; porque isso atiraria com um dus priucipaet> Roevidts de
pernas ao ar ; as.,im calou-se nisto o Seuhor Commendader Guerreiro como nabo
em saco; mas mette-se a discutir o character individual do Adam dos periódicos
Portuguezes, o que tanto importa ao estado politico de Portugal, como a questão
sobre a qualidade da folha, de que foram feitos os primeiros calçoens do Adam
primitivo. Justifica o Senhor Commendador Guerreiro, neste manifesto, o Conde
de Palmella, por haver andado de viagem entre Londres e Paris, por vários
annos, depois de nomeado Secretario de Estado; justificação que se fez
necessária, porque o Correio Braziliense o aceusou de se deixar ficar na
Europa, em de vez de ir para o seu lugar, que éra no Rio-de-Janeiro. A
Justificação consiste, em que o Conde se oecupou, neste período, em negociar
com a Hespanha á cerca da restituição de Olivença<a href="file:///C:/Users/Simon/Documents/07%20-%20N%C3%82O%20FOI%20no%20GRITO/203%20-%20CONSEQU%C3%8ANCIAS%20e%20a%20SUSTENTA%C3%87%C3%82O%20REVOLU%C3%87%C3%82O%20do%20PORTO/0-203%20CONSEQU%C3%8ANCIAS%20e%20a%20SUSTENTA%C3%87%C3%82O%20REVOLU%C3%87%C3%82O%20do%20PORTO.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="font-size: 14pt;">[2]</span></b></span><!--[endif]--></span></a>,
e o ajuste da disputa sobre Monte-Vedio. Nada disso podia ser tam importante,
como ir o Conde ao Rio-de-Janeiro representar a El Rey, que o aspecto das
cousas em Portugal éra tam medonho, que requeria o por-se sobre bazes novas
todo o edifício social. O estabelicimento de taes novas bates éra sem duvida
matéria de assas transcendência, para o levar ao Rio-de-Janeiro. Mas diz o
Senhor Commendador Guerreiro, que o Correio Braziliense e outros inimigos do
Conde, naõ o suppunham capaz de fazer bem algum no Rio, e assim naõ foi o Conde.
Ora mui obrigado, pela parte que nos toca, ao Senhor Conde, por naõ ter elle
ido, em conseqüência da má opinião que delle tínhamos. Naõ exigíamos delle tam
condescendente sacrifício. Mas passe; ficou na Europa, para cuidar do negocio
de Olivença e Monte Vídeo. Entaõ, Senhor Commendador Guerreiro ¿ aonde esta
Olivença ? Aonde dantes estava; porque com todas as negociaçoens do Conde de
Palmella, e sua habilidade diplomática, Olivença ficoq como d'antes. ¿ Ou
estará combinando novas bates ao edifício social, que sejam mais conformes a
suas vistas liberaes?. Isto he o que o manifesto naõ declara, mas o Senhor
Commendador Guerreiro, ainda aqui se acha, apezar de ter chegado o Ministro,
que deve residir em Londres ; e naõ foi até esta data para a Enviatura de Suécia,
a que fora nomeado por seus serviços, e sua capacidade, como elle mesmo, e mais
ninguém, diz. Talvez espere para ir de Secretario da missaõ extraordinária a
Troppau, se para ali for o Marechal General Juncto á Real Pessoa, exigir os
bons officios das Potências Aliadas. Temo-nos demorado nm pouco mais do que
permittiam nossos limites, com esta matéria ; mas naô he possível sempre
reprimir o ardor, quando se vê a impudencia de taes empregados públicos, e suas
fataes conseqüências no destino da Naçaõ, na gloria do Soberano, e na honra da
Pátria. Se os males soffridos durante a administração de taes empregados, se o
êxito que tiveram as cousas em Portugal, se o mais triste ainda futuro que
apresentam os destinos da Monarchia, naõ fazem abrir os olhos a quem pode
remediar taes misérias, e a mesma gente continua a governar ; entaõ naõ ha
remédio que esperar senaõ o que vier na torrente da revolução ; e .... quo fata
trabunt retrahunt que sequamur. Gazetas em Lisboa. A prohibiçaõ dos jornaes e
papeis periódicos, naõ éra nm dos pequenos males, que soffria Portugal, posto
que esta falta seja commum a outros muitos paizes da Europa ; mas cada qual
queixa-se do mal que lhe dóe. A experiência tem demonstrado, como diz Mr.
Bentham, que as gazetas saõ um dos melhores meios de dirigir a opinião; de
acalmar os movimentos ardentes, de fazer desvanecer as mentiras, e os rumores
artificiosos, pelos quaes alguns inimigos do Estado tentem realizar seus máos
desígnios. Nestas gazetas a instrucçaõ pode descer do Governo ao povo, ou subir
do povo ao Governo; quanto maior for a liberdade, que nisso houver, e tanto
melhor o Governo poderá julgar do curso da opinião, tanto mais estará ao facto
de obrar com certeza. A revolução de Portugal soltou os diques a esta sorte de
escriptos ; e entre os que nos tem chegado á maõ, saõ O Patriota; O Liberal; O
Portuguez Constitucional; O Observador Imparcial; A Mnemosine Constitueional; o
Pregoeiro Luzitano ; A Regencraçõ de Portugal; e um sem numero de Poesias
avulsas, no que tambem naõ falhou, com sua Ode, Jozé Daniel. Seria em vaõ
esperar, que em uma naçaõ naõ accustumada a esta sorte de escriptos, se
pudessem achar de repente muitos jornalistas, capazes de desempenhar bem tal
occupaçaõ : mesmo na Inglaterra, aonde as gazetas fazem tam essencial parte dos
escriptos públicos, pôde dizer-se que se naõ contam maisde meia dúzia, em
Londres, que tenham bem merecida reputação, Os diversos microscópios, que se
tem impresso em Portuguez, na Inglaterra, tem servido de mostrar, que ainda
havendo a faculdade de imprimir, naõ se segue logo que haja muito quem imprima
bem. Cora tudo, da multiplicidade de jornaes, que se tem começado a imprimir em
Lisboa, naõ pôde resultar senaõ muito bem; Porque, os que forem bem conduzidos,
se acreditarão pouco a pouco, até que estabelecerão sua reputação e sua
influencia, no publico, o que pôde ser de sumraa utilidade ao Governo; os que
naõ forem apoiados por igual merecimento,, annihilar-sehaõ por sua própria
insignificancia, e em fim achar-se-haõ os jornaes sufficientcs para o numero de
leitores que os deseje, e esses jornaes conduzidos por pessoas, cujos estudos e
experiência os qualifique, para tal tarefa, mais cheia de difiiculdades do que
pode conhecer a multidão dos que se arrojam a essa sorte de trabalhos. Para
conhecer bem a utilidade dos jornaes, escriptos com liberdade, principalmente
quando seus redactores tiverem adquirido a experiência, necessária, he preciso
trazer á lembrança o tempo, em que taes jornaes naõ existiam, e as imposturas corriam
surdamente, mas sem contradicçaõ, e o Governo naõ tinha meio algum nem de
saber, quanto mais de contradizer as falsidades, que se espalhavam. Nem se
poderá dizer, que basta que o Governo tenha a sua gazeta, para por ella
instruir o Povo. Primeiramente, o Governo naõ tem meios de poder descobrir o
homem mais capaz, para a redacçaõ de sua gazeta : o publico, entre a multidão
de gazetas, discernirá em breve quaes saõ as bem e as mal conduzidas. Depois,
ninguém dá credito a elogio, desculpa ou justificação do Governo, na sua gazeta
; porque lhe falta o character mais essencial para ter credito, que he a
imparcialidade, Dahi, esse mesmo redactor da gazeta do Governo está sugeito a
um Censor, que lhe tira até o pouco de independência de raciocínio, que podéra
empregar, e sem essa independência, naõ ha gênio que possa desenvolver as
ideas, nem escrutinizar a verdade, de maneira que seja útil. Os charlataens, os
pretensos mágicos e feiticeiros, os impostures de toda a sorte, faraõ sempre
fraca colheita, aonde os jornaes instruírem quotidianamente o povo nos seus
interesses: sem os jornaes mal poderá governo algum pôr o seu povo ao abrigo de
taes fraudes, que se nutrem da credulidade dos enganados, e que estes mesmos,
sepultados em sua ignoraucia, procuram occultar ás pesquizas da mais exacta
policia; mas os jornaes, abrindo os olhos aos ignorantes, podem prevenir males
desta natureza, que nenhum poder do Governo he capaz de remediar. Quanto aos
abusos, a imprensa livre remedeia-se a si mesma; porque naõ pôde haver razaõ
para que a mentira, sendo igualmente livre como a verdade, prevaleça contra
esta; a discussão livre fará sempre succumbir o erro. Restam ainda alguns
casos, em que as leys devem interpor sua authoridade sobre a imprensa, assim como
a impõem sobre os manuscriptos e sobre a falia : mas esses casos saõ poucos,
bem conhecidos, e de fácil remédio.</span><o:p></o:p></span></i></b></p>
<div><!--[if !supportFootnotes]--><span style="color: #01ffff;"><br clear="all" />
</span><hr align="left" size="1" width="33%" />
<!--[endif]-->
<div id="ftn1">
<p class="MsoFootnoteText"><span style="color: #2b00fe;"><a href="file:///C:/Users/Simon/Documents/07%20-%20N%C3%82O%20FOI%20no%20GRITO/203%20-%20CONSEQU%C3%8ANCIAS%20e%20a%20SUSTENTA%C3%87%C3%82O%20REVOLU%C3%87%C3%82O%20do%20PORTO/0-203%20CONSEQU%C3%8ANCIAS%20e%20a%20SUSTENTA%C3%87%C3%82O%20REVOLU%C3%87%C3%82O%20do%20PORTO.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman", serif;">[1]</span></span><!--[endif]--></span></a> CONDE da BARCA
e HIPÒLITO JOSÉ da COSTA <a href="http://naofoinogrito.blogspot.com.br/2016/02/131-nao-foi-no-grito.html">http://naofoinogrito.blogspot.com.br/2016/02/131-nao-foi-no-grito.html</a><o:p></o:p></span></p>
</div>
<div id="ftn2">
<p class="MsoNormal" style="margin-left: -25.9pt; mso-layout-grid-align: none; text-align: justify; text-autospace: none;"><span style="color: #2b00fe;"><a href="file:///C:/Users/Simon/Documents/07%20-%20N%C3%82O%20FOI%20no%20GRITO/203%20-%20CONSEQU%C3%8ANCIAS%20e%20a%20SUSTENTA%C3%87%C3%82O%20REVOLU%C3%87%C3%82O%20do%20PORTO/0-203%20CONSEQU%C3%8ANCIAS%20e%20a%20SUSTENTA%C3%87%C3%82O%20REVOLU%C3%87%C3%82O%20do%20PORTO.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman", serif;">[2]</span></span><!--[endif]--></span></a> <span face="Arial, sans-serif">¿ <b>OLIVENÇA
ou OLIVENZA</b> ? </span><span face="Arial, sans-serif">NÃO FOI NO GRITO
nº121</span><span face="Arial, sans-serif"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-hyphenate: none; text-align: justify;"><b><span face="Arial, sans-serif" style="color: #2b00fe;"><a href="http://naofoinogrito.blogspot.com.br/2015_06_01_archive.html"><span>http://naofoinogrito.blogspot.com.br/2015_06_01_archive.htm</span><span style="font-size: 11pt;">l</span></a></span></b></p>
</div>
</div><p align="center" class="MsoNormal" style="text-align: center;"><span face="Arial, sans-serif" style="font-size: 14pt;"></span></p><div class="separator" style="clear: both; color: #c00000; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4ru5jfPdcngzSGdYwQYcg0-FIAz4B4jCCr36rkCHDJO3lpSGwtnMGKgJJTwjLOPKxzIrfJxcW4KPSjm724WZ_-_agvH-Y9Yz6_gK3bdbbjcLOuM9bZctyu7H2qogrlwv9qPG5HYmO7BHv/s1399/09+THE+GUARDIAN+em+01.02.20120+_+METENDO+A+CABE%25C3%2587A+na+TOCA.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="907" data-original-width="1399" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4ru5jfPdcngzSGdYwQYcg0-FIAz4B4jCCr36rkCHDJO3lpSGwtnMGKgJJTwjLOPKxzIrfJxcW4KPSjm724WZ_-_agvH-Y9Yz6_gK3bdbbjcLOuM9bZctyu7H2qogrlwv9qPG5HYmO7BHv/w405-h274/09+THE+GUARDIAN+em+01.02.20120+_+METENDO+A+CABE%25C3%2587A+na+TOCA.jpg" width="405" /></a></div><span style="color: #990000;"><ul style="text-align: left;"><li style="text-align: center;"><span>F</span><span><span face="Arial, sans-serif" style="font-size: 14pt;">ig. 09 – </span><span face="Arial, sans-serif"><span style="font-size: 14pt;"><b> Conforme Maquiavel é da natureza “da memõria
humana guardar e cultivar os benefícios, por MENORES que tenham sido. e busca esquecer e </b></span><span style="font-size: 18.6667px;"><b>desqualificar</b></span><span style="font-size: 14pt;"><b> os malefícios, por MAIORES
que tunham sido” </b></span></span><span face="Arial, sans-serif" style="font-size: 14pt;">O CORREIO BRAZILIENSE tornou-se filtro, mediador e
atravessador tanto dos BENEFICIOS da
REVOLUÇÂO do PORTO como da corte do RIO de JANEIRO enquanto obscurece e cala o
que ele considerava MALEFÍCIOS<b><o:p></o:p></b></span></span></li></ul></span><p></p><div class="separator" style="clear: both; text-align: center;">
<p align="center" class="MsoNormal"><b><span face="Arial, sans-serif" style="font-size: 14pt;"><span style="color: #cfe2f3;"> <o:p></o:p></span></span></b></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 78pt;"><span><span style="line-height: 150%;"><span face="Verdana, sans-serif"><span style="font-size: 14pt;"><span style="color: #cfe2f3;">O</span> CORREIO BAZILIENSE, de novembro de 1820, , tinha
por objetivo maior a </span></span><u><span face="Verdana, sans-serif"><span style="font-size: 18.6667px;"><b>manutenção</b></span></span><b style="font-family: Verdana, sans-serif; font-size: 14pt;"> da
UNIÃO entre PORTUGAL e BRASIL</b></u><span face="Verdana, sans-serif"><span style="font-size: 14pt;">. Para tanto coloca-se como filtro tanto
dos </span><span style="font-size: 18.6667px;">benefícios</span><span style="font-size: 14pt;"> potencias da REVOLUÇÃO do PORTO como da CORTE do RIO DE JANEIRO. Este </span><span style="font-size: 18.6667px;">objetivo</span><span style="font-size: 14pt;"> transparece entre as linhas quando escreveu que “</span></span></span><i><span style="line-height: 150%;"><span face="Verdana, sans-serif"><span style="font-size: 14pt;"><b>os
que forem bem conduzidos, se acreditarão pouco a pouco, até que estabelecerão
sua reputação e sua influencia, no publico, o que pôde ser de </b></span><span style="font-size: 18.6667px;"><b>suma</b></span><span style="font-size: 14pt;"><b> utilidade
ao Governo”.</b></span></span></span></i><span face=""Verdana","sans-serif"" style="font-size: 14pt; line-height: 150%; mso-bidi-font-family: Verdana;"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 78pt;"><span face=""Verdana","sans-serif"" style="font-size: 14pt; line-height: 150%; mso-bidi-font-family: Verdana;"><span>Com a janela digital de novembro de 2020, este
objetivo maior foi frustrado ao longo dos dois séculos que nos separam de
novembro de 1820. <o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 78pt;"><span face=""Verdana","sans-serif"" style="font-size: 14pt; line-height: 150%; mso-bidi-font-family: Verdana;"><span>No entanto, o longo e detalhado texto do que ele trata das
CONSEQUÊNCIAS e da SUSTENTAÇÂO CONTINUADA, vale pelas lições benéficas e pela
prevenção dos malefícios que cresceram e se acentuaram com a imprensa da ERA
INDUSTRIAL, mas especialmente pela sua disseminação incontrolável realizada
pelos meios digitais da ÉPOCA PÓS-INDUSTRIAL </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-left: 14.2pt; text-align: justify; text-indent: 14.15pt;"><b><span face=""Arial","sans-serif""> </span></b></p>
<p align="center" class="MsoNormal" style="text-indent: -7.1pt;"><b><span face=""Arial","sans-serif""><span style="color: #2b00fe;">IMPRENSA
e PROPAGANDA<o:p></o:p></span></span></b></p>
<p align="center" class="MsoNormal" style="text-indent: -7.1pt;"><b><span face=""Arial","sans-serif""><span style="color: #2b00fe;"><a href="https://www.rafaelhoffmann.com/aula/arquivos/tipografia/conteudo_03_historia_da_tipografia.pdf">https://www.rafaelhoffmann.com/aula/arquivos/tipografia/conteudo_03_historia_da_tipografia.pdf</a><o:p></o:p></span></span></b></p>
<p align="center" class="MsoNormal" style="text-indent: -7.1pt;"><b><span face=""Arial","sans-serif""><span style="color: #2b00fe;"> </span></span></b></p>
<p align="center" class="MsoNormal" style="margin-left: -25.9pt;"><span style="color: #2b00fe;"><span face=""Arial","sans-serif"" style="mso-bidi-font-style: italic;">¿ <b>OLIVENÇA
ou OLIVENZA</b> ? </span><span face=""Arial","sans-serif"" style="mso-fareast-language: ZH-CN;">NÃO FOI NO GRITO nº121</span><span face=""Arial","sans-serif"" style="mso-bidi-font-style: italic;"><o:p></o:p></span></span></p>
<p align="center" class="MsoNormal"><b><span face=""Arial","sans-serif"" style="mso-fareast-language: ZH-CN;"><span style="color: #2b00fe;"><a href="http://naofoinogrito.blogspot.com.br/2015_06_01_archive.html">http://naofoinogrito.blogspot.com.br/2015_06_01_archive.html</a><o:p></o:p></span></span></b></p>
<p align="center" class="MsoNormal"><b><span face=""Arial","sans-serif"" style="mso-fareast-language: ZH-CN;"><span style="color: #2b00fe;"> </span></span></b></p>
<p align="center" class="MsoNormal"><span style="color: #2b00fe;"><b><span face=""Arial","sans-serif"" style="mso-fareast-language: ZH-CN;">O PENSAMENTO de ARTIGAS PERMANECE</span></b><span face=""Arial","sans-serif"" style="mso-fareast-language: ZH-CN;"> NÃO FOI NO
GRITO nº 149 -<o:p></o:p></span></span></p>
<p align="center" class="MsoNormal"><b><span face=""Arial","sans-serif"" style="mso-fareast-language: ZH-CN;"><span style="color: #2b00fe;"><a href="http://naofoinogrito.blogspot.com.br/2017/03/149-nao-foi-no-grito.html">http://naofoinogrito.blogspot.com.br/2017/03/149-nao-foi-no-grito.html</a><o:p></o:p></span></span></b></p>
<p align="center" class="MsoNormal"><b><span face=""Arial","sans-serif"" style="mso-fareast-language: ZH-CN;"><span style="color: #2b00fe;"> </span></span></b></p>
<p align="center" class="MsoNormal" style="margin-left: -25.9pt;"><span style="color: #2b00fe;"><b><span face=""Arial","sans-serif"" style="mso-fareast-language: ZH-CN;">REVOLUÇÂO
PERNAMBUCANA de 1817</span></b><span face=""Arial","sans-serif"" style="mso-fareast-language: ZH-CN;"> NÃO FOI NO GRITO nº 151 -<o:p></o:p></span></span></p>
<p align="center" class="MsoNormal"><b><span face=""Arial","sans-serif"" style="mso-fareast-language: ZH-CN;"><span style="color: #2b00fe;"><a href="http://naofoinogrito.blogspot.com.br/2017/05/155-nao-foi-no-grito.html">http://naofoinogrito.blogspot.com.br/2017/05/155-nao-foi-no-grito.html</a><o:p></o:p></span></span></b></p>
<p align="center" class="MsoNormal"><span style="color: #2b00fe;"><span face=""Arial","sans-serif"" style="mso-fareast-language: ZH-CN;">Em JUNHO de
1817 o GOVERNO foi enfraquecido pelos ABUSOS para </span><span face=""Arial","sans-serif"" style="font-size: 14pt; mso-fareast-language: ZH-CN;">enfrentar a REVOLUÇÃO em PERNAMBUCO e manter MONTEVIDEU<b> </b>NÃO FOI NO GRITO nº 152 -<b><o:p></o:p></b></span></span></p>
<p align="center" class="MsoNormal"><b><span face=""Arial","sans-serif"" style="font-size: 14pt; mso-fareast-language: ZH-CN;"><span style="color: #2b00fe;"><a href="http://naofoinogrito.blogspot.com.br/2017/06/152-nao-foi-no-grito.html">http://naofoinogrito.blogspot.com.br/2017/06/152-nao-foi-no-grito.html</a><o:p></o:p></span></span></b></p>
<p class="MsoNormal"><b><span face=""Arial","sans-serif"" style="font-size: 14pt; mso-fareast-language: ZH-CN;"><span style="color: #2b00fe;"> </span></span></b></p>
<p align="center" class="MsoNormal"><span style="color: #2b00fe;"><b><span face=""Arial","sans-serif"" style="font-size: 14pt; mso-fareast-language: ZH-CN;">GOMES FREIRE de ANDRADE: O JUDICIÁRIO e o SISTEMA de GOVERNO em NOVEM</span></b><span face=""Arial","sans-serif"" style="font-size: 14pt; mso-fareast-language: ZH-CN;">BRO de 1817 e em 2017<b>.</b> NÃO FOI NO GRITO 1 nº 58 –<o:p></o:p></span></span></p>
<p align="center" class="MsoNormal" style="margin-left: -1cm;"><b><span face=""Arial","sans-serif"" style="font-size: 14pt; mso-fareast-language: ZH-CN;"><span style="color: #2b00fe;"><a href="http://naofoinogrito.blogspot.com.br/2017/11/158-nao-foi-no-grito.html">http://naofoinogrito.blogspot.com.br/2017/11/158-nao-foi-no-grito.html</a><o:p></o:p></span></span></b></p>
<p align="center" class="MsoNormal"><span style="color: #2b00fe;"><b><span face=""Arial","sans-serif"" style="font-size: 14pt;">CONDENADOS POR UM CRIME SEM PROVAS MATERIAIS</span></b><span face=""Arial","sans-serif"" style="font-size: 14pt; mso-fareast-language: ZH-CN;"> NÃO FOI NO GRITO nº 172 –<o:p></o:p></span></span></p>
<p align="center" class="MsoNormal"><span face=""Arial","sans-serif"" style="font-size: 14pt; mso-fareast-language: ZH-CN;"><span style="color: #2b00fe;"><a href="http://naofoinogrito.blogspot.com/2018/09/172-nao-foi-no-grito.html">http://naofoinogrito.blogspot.com/2018/09/172-nao-foi-no-grito.html</a><o:p></o:p></span></span></p>
<p align="center" class="MsoNormal"><span face=""Arial","sans-serif"" style="font-size: 14pt; mso-fareast-language: ZH-CN;"><span style="color: #2b00fe;"> </span></span></p>
<p align="center" class="MsoNormal"><span style="color: #2b00fe;"><b><span face=""Arial","sans-serif"" style="font-size: 14pt;">CONDE
da BARCA e HIPÒLITO JOSÉ da COSTA</span></b><span face=""Arial","sans-serif"" style="font-size: 14pt;"> <a href="http://naofoinogrito.blogspot.com.br/2016/02/131-nao-foi-no-grito.html">http://naofoinogrito.blogspot.com.br/2016/02/131-nao-foi-no-grito.html</a></span><span face=""Arial","sans-serif""><o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; mso-hyphenate: none;"><span face=""Verdana","sans-serif"" style="mso-bidi-font-family: Verdana; mso-fareast-language: ZH-CN;"><span style="color: #2b00fe;"> </span></span></p></div><p align="center" class="MsoNormal" style="margin-left: -11.7pt; mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span face=""Arial Narrow", sans-serif"></span></p><div class="separator" style="clear: both; color: #c00000; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9RQq3mUEL5PxYBvRkGU_gGa_A6G945f-FvdLmuskJpKnMVYTxSF_iuQJ-D1An_YQQToUi09wTfSeCUYUr0O-5RBUcNyEDoQdzYWbY7CL374RFtHBTv7Ouj1gE2KWI1eASbwadpWFBAiY1/s207/10+-+CREATIVE+COMMONS+br.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="46" data-original-width="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9RQq3mUEL5PxYBvRkGU_gGa_A6G945f-FvdLmuskJpKnMVYTxSF_iuQJ-D1An_YQQToUi09wTfSeCUYUr0O-5RBUcNyEDoQdzYWbY7CL374RFtHBTv7Ouj1gE2KWI1eASbwadpWFBAiY1/s0/10+-+CREATIVE+COMMONS+br.jpg" /></a></div><br /><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><span style="color: #990000;"><span>Este
material possui uso restrito ao apoio do processo continuado de
ensino-aprendizagem</span></span><p align="center" class="MsoNormal" style="margin-left: -11.7pt; mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="color: #990000;"><span face=""Arial Narrow", sans-serif" style="font-size: 11pt;">Não há pretensão de lucro ou de apoio
financeiro nem ao autor e nem aos seus eventuais usuários</span></span></p><p align="center" class="MsoNormal" style="margin-left: -11.7pt; mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span face=""Arial Narrow", sans-serif" style="font-size: 11pt;"><span style="color: #990000;">Este material é editado e divulgado
em língua nacional brasileira e respeita a formação histórica deste idioma</span></span><span face=""Arial Narrow","sans-serif"" style="color: #c00000; font-size: 11pt; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">.</span></p></blockquote><p></p>
<p align="center" class="MsoNormal" style="margin-left: -11.7pt; mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><o:p></o:p></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span face=""Arial Narrow","sans-serif"" style="font-size: 11pt; mso-bidi-font-family: "Arial Narrow"; mso-fareast-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><span style="mso-spacerun: yes;"><span style="color: #984806;"> </span><span style="color: #2b00fe;">
</span></span></span><span style="color: #2b00fe;"><span style="mso-fareast-language: ZH-CN;"><a href="http://creativecommons.org/licenses/by/3.0/"><span face=""Arial Narrow", sans-serif" style="font-size: 9pt;">http://creativecommons.org/licenses/by/3.0/</span></a></span><span face=""Arial Narrow","sans-serif"" style="font-size: 9pt; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span face=""Arial Narrow","sans-serif"" style="font-size: 9pt; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p><span style="color: #2b00fe;"> </span></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="color: #2b00fe;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow","sans-serif"" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">ASSISTÊNCIA TÉCNICA e DIGITAL de<span style="mso-spacerun: yes;"> </span>CÌRIO JOSÉ SIMON</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="color: #2b00fe;"><span style="mso-fareast-language: ZH-CN;"><a href="https://www.facebook.com/photo.php?fbid=10205784875074212&set=a.1709833538793.2091031.1026728341&type=1&theater"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow", sans-serif">https://www.facebook.com/photo.php?fbid=10205784875074212&set=a.1709833538793.2091031.1026728341&type=1&theater</span></b></a></span><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow","sans-serif"" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></b></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow","sans-serif"" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p><span style="color: #2b00fe;"> </span></o:p></span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="color: #2b00fe;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow","sans-serif"" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">Referências para Círio SIMON</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="color: #2b00fe;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow","sans-serif"" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">E-MAIL</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="color: #2b00fe;"><span style="mso-fareast-language: ZH-CN;"><a href="mailto:prof.cirio.simon@gmail.com"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow", sans-serif" lang="ES" style="background: white;">prof.cirio.simon@gmail.com</span></b></a></span><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow","sans-serif"" lang="ES" style="mso-ansi-language: ES; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></b></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="color: #2b00fe;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow","sans-serif"" lang="ES" style="mso-ansi-language: ES; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">SITE desde 2008</span></b><span lang="ES" style="mso-ansi-language: ES; mso-fareast-language: ZH-CN;"><o:p></o:p></span></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span style="color: #2b00fe;"><span style="mso-fareast-language: ZH-CN;"><a href="http://www.ciriosimon.pro.br/default.html"><span face=""Arial Narrow", sans-serif" lang="ES">http://www.ciriosimon.pro.br/default.html</span></a></span><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow","sans-serif"" lang="ES" style="mso-ansi-language: ES; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN; mso-font-kerning: 1.0pt;"><o:p></o:p></span></b></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span style="color: #2b00fe;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow","sans-serif"" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN; mso-font-kerning: 1.0pt;">DISSERTAÇÃO: A Prática Democrática</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span style="color: #2b00fe;"><span style="mso-fareast-language: ZH-CN;"><a href="http://www.lume.ufrgs.br/handle/10183/1445"><span face=""Segoe UI", sans-serif" style="font-size: 10pt;">http://www.lume.ufrgs.br/handle/10183/1445</span></a></span><span face=""Segoe UI", sans-serif" style="font-size: 10pt;"> </span><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span style="color: #2b00fe;"><b style="mso-bidi-font-weight: normal;"><span face=""Segoe UI", sans-serif">TESE</span></b><b style="mso-bidi-font-weight: normal;"><span face=""Segoe UI", sans-serif" style="font-size: 10pt;">: Origens do
Instituto de Artes da UFRGS</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span style="color: #2b00fe;"><span style="mso-fareast-language: ZH-CN;"><a href="http://www.lume.ufrgs.br/handle/10183/2632"><span face=""Segoe UI", sans-serif" style="font-size: 10pt;">http://www.lume.ufrgs.br/handle/10183/2632</span></a></span><span face=""Segoe UI", sans-serif" style="font-size: 10pt;"> </span><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></span></p>
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<p align="center" class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; tab-stops: 219.75pt; text-align: center; text-indent: 2.25pt;"><span style="color: #2b00fe;"><span><span face=""Arial Narrow", sans-serif"><span style="mso-spacerun: yes;"> </span></span><span style="mso-fareast-language: ZH-CN;"><a href="http://www.youtube.com/watch?v=qdqXEg7ugxA"><span face=""Arial Narrow", sans-serif" lang="ES-CL">http://www.youtube.com/watch?v=qdqXEg7ugxA</span></a></span></span><span face=""Arial Narrow","sans-serif"" lang="ES-CL" style="font-size: 11pt; line-height: 150%; mso-ansi-language: ES-CL; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span face=""Arial Black","sans-serif"" style="color: #2b00fe; font-size: 14pt; mso-bidi-font-family: "Arial Black"; mso-fareast-language: ZH-CN;">.</span><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>Prof. Círio Simonhttp://www.blogger.com/profile/06566693954184732946noreply@blogger.com0tag:blogger.com,1999:blog-1362905750550965943.post-56693792811939142082020-10-15T10:05:00.002-07:002020-10-15T10:05:35.533-07:00290 – ISTO É ARTE: sumário de 11º ano<p align="center" class="MsoNormal" style="margin-right: -11.7pt; mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><br /></p><p align="center" class="MsoNormal" style="margin-bottom: 10.0pt; text-align: center;"><b><span style="font-family: "Arial Black",sans-serif; font-size: 20.0pt; mso-bidi-font-size: 18.0pt;"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><br /></b></div><a href="https://profciriosimon.blogspot.com/2019/10/273-isto-e-arte.html" style="font-family: Verdana, sans-serif;"><span style="color: blue;">l</span></a><p></p><p align="center" class="MsoNormal" style="margin-bottom: 3.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="font-family: "Arial Narrow", sans-serif;"><span style="font-size: x-large;">ONZE SUMÁRIOS do BLOG: ISTO
é ARTE</span></span><span style="font-family: "Arial Narrow",sans-serif; font-size: 24.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;">.<o:p></o:p></span></b></p><p class="MsoNormal"><o:p> </o:p></p><p class="MsoNormal"><o:p> </o:p></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="color: red; font-family: "Arial Narrow",sans-serif; font-size: 16.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;">1ª postagem</span></b><b><span style="color: #365f91; font-family: "Arial Narrow",sans-serif; font-size: 16.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;">:<o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="font-family: "Footlight MT Light",serif; font-size: 16.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;">PRESERVAR é DIFERENTE de
ESTAGNAR<o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><u><span style="color: #0f243e; font-family: "Arial Narrow",sans-serif; font-size: 14.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;"><a href="http://profciriosimon.blogspot.com.br/2009/10/preservar-e-diferente-de-estagnar.html"><span style="color: #0f243e;">http://profciriosimon.blogspot.com.br/2009/10/preservar-e-diferente-de-estagnar.html</span></a><o:p></o:p></span></u></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="color: #c00000; font-family: "Arial Narrow",sans-serif; font-size: 16.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;">14 de OUTUBRO
de 2009<o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="color: #365f91; font-family: "Arial Narrow",sans-serif; font-size: 16.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;"> </span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="color: #c00000; font-family: "Cambria",serif; font-size: 20.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;">*<o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="font-family: "Footlight MT Light",serif; font-size: 16.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;">SUMARIO do 1º ANO do
BLOG ISTO é ARTE<o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><u><span lang="EN-US" style="color: #0f243e; font-family: "Arial Narrow",sans-serif; font-size: 14.0pt; mso-ansi-language: EN-US; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;"><a href="http://profciriosimon.blogspot.com/2010/10/sumario-eletronico-do-1-ano-do-blog.html"><span lang="PT-BR" style="color: #0f243e; mso-ansi-language: PT-BR;">http://profciriosimon.blogspot.com/2010/10/sumario-eletronico-do-1-ano-do-blog.html</span></a></span></u></b><b><u><span style="color: #0f243e; font-family: "Arial Narrow",sans-serif; font-size: 14.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;"><o:p></o:p></span></u></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="color: #c00000; font-family: "Arial Narrow",sans-serif; font-size: 16.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;">12 de OUTUBRO
de 2010<o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="color: #365f91; font-family: "Cambria",serif; font-size: 20.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;"> </span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="color: #c00000; font-family: "Cambria",serif; font-size: 20.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;">**<o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="font-family: "Footlight MT Light",serif; font-size: 16.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;">SUMARIO do 2º ANO do
BLOG ISTO é ARTE<o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><u><span style="color: #0f243e; font-family: "Arial Narrow",sans-serif; font-size: 14.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;"><a href="http://profciriosimon.blogspot.com.br/2011/10/sumario-do-2-ano.html"><span style="color: #0f243e;">http://profciriosimon.blogspot.com.br/2011/10/sumario-do-2-ano.html</span></a><o:p></o:p></span></u></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="color: #c00000; font-family: "Arial Narrow",sans-serif; font-size: 16.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;">10 de OUTUBRO
de 2011<o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="color: #365f91; font-family: "Cambria",serif; font-size: 16.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;"> </span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="color: #c00000; font-family: "Cambria",serif; font-size: 16.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;">***<o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="font-family: "Footlight MT Light",serif; font-size: 16.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;">SUMARIO do 3º ANO do
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<o:p></o:p></span></u></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="color: #c00000; font-family: "Arial Narrow",sans-serif; font-size: 16.0pt; letter-spacing: 2.4pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt; text-transform: uppercase;">10 de Outubro de 2012<o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="color: #c00000; font-family: "Arial Narrow",sans-serif; font-size: 16.0pt; letter-spacing: 2.4pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt; text-transform: uppercase;">***</span></b><b><span style="color: #c00000; font-family: "Arial Narrow",sans-serif; font-size: 16.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;"><o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="font-family: "Footlight MT Light",serif; font-size: 16.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;">SUMARIO do 4º ANO do
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<o:p></o:p></span></u></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="color: #c00000; font-family: "Arial Narrow",sans-serif; font-size: 16.0pt; letter-spacing: 2.4pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt; text-transform: uppercase;">12 de Outubro de 2013</span></b><b><span style="color: #c00000; font-family: "Arial Narrow",sans-serif; font-size: 16.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;"><o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="color: #c00000; font-family: "Cambria",serif; font-size: 16.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;">****<o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="font-family: "Footlight MT Light",serif; font-size: 16.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;">SUMARIO do 5º ANO do
BLOG ISTO é ARTE<o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="font-family: "Arial Narrow",sans-serif; font-size: 16.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;"><a href="http://profciriosimon.blogspot.com.br/2014/10/094-isto-e-arte.html"><span style="color: blue; mso-bidi-font-family: Verdana;">http://profciriosimon.blogspot.com.br/2014/10/094-isto-e-arte.html</span></a><o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="font-family: "Arial Narrow",sans-serif; font-size: 16.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;"> </span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="color: #c00000; font-family: "Arial Narrow",sans-serif; font-size: 16.0pt; letter-spacing: 2.4pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt; text-transform: uppercase;">12 de Outubro de 2014</span></b><b><span style="color: #c00000; font-family: "Arial Narrow",sans-serif; font-size: 16.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;"><o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="color: #c00000; font-family: "Cambria",serif; font-size: 16.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;"> </span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="color: #c00000; font-family: "Cambria",serif; font-size: 16.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;">*****<o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="font-family: "Footlight MT Light",serif; font-size: 16.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;">SUMARIO do 6º ANO do
BLOG ISTO é ARTE<o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="font-family: "Segoe UI", sans-serif;"><a href="http://profciriosimon.blogspot.com.br/2015/10/139-isto-e-arte.html"><span style="color: blue;">http://profciriosimon.blogspot.com.br/2015/10/139-isto-e-arte.html</span></a><o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="color: #c00000; font-family: "Arial Narrow",sans-serif; font-size: 16.0pt; letter-spacing: 2.4pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt; text-transform: uppercase;">12 de Outubro de 2015<o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="color: #c00000; font-family: "Elephant",serif; font-size: 16.0pt; letter-spacing: 2.4pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt; text-transform: uppercase;"> </span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="color: #c00000; font-family: "Elephant",serif; font-size: 16.0pt; letter-spacing: 2.4pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt; text-transform: uppercase;"> ******</span></b><span style="font-family: "Elephant",serif; mso-fareast-language: ZH-CN;"><o:p></o:p></span></p><p align="center" class="MsoNormal" style="margin-bottom: 3.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="font-family: "Footlight MT Light",serif; font-size: 16.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;">SUMÁRIO do 7º ANO do BLOG:
ISTO é ARTE.<o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><b><span style="font-family: "Arial Narrow",sans-serif; font-size: 14.0pt; mso-bidi-font-size: 12.0pt; mso-fareast-language: ZH-CN;"><a href="http://profciriosimon.blogspot.com.br/2016/10/186-isto-e-arte.html"><span style="color: blue;">http://profciriosimon.blogspot.com.br/2016/10/186-isto-e-arte.html</span></a><o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="color: #c00000; font-family: "Arial Narrow",sans-serif; font-size: 16.0pt; letter-spacing: 2.4pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt; text-transform: uppercase;">16 de Outubro de 2016<o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="color: #c00000; font-family: "Arial Narrow",sans-serif; font-size: 16.0pt; letter-spacing: 2.4pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt; text-transform: uppercase;"> </span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="color: #c00000; font-family: "Elephant",serif; font-size: 16.0pt; letter-spacing: 2.4pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt; text-transform: uppercase;">*******</span></b><span style="font-family: "Elephant",serif; mso-fareast-language: ZH-CN;"><o:p></o:p></span></p><p align="center" class="MsoNormal" style="margin-bottom: 3.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="font-family: "Footlight MT Light",serif; font-size: 16.0pt; mso-bidi-font-size: 14.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;">SUMÁRIO do 8º ANO do BLOG: ISTO é ARTE.<o:p></o:p></span></b></p><p class="MsoNormal"><span style="font-family: "Verdana",sans-serif; mso-fareast-language: ZH-CN;"><a href="http://profciriosimon.blogspot.com.br/2017/10/216-isto-e-arte.html"><span style="color: blue;">http://profciriosimon.blogspot.com.br/2017/10/216-isto-e-arte.html</span></a></span><o:p></o:p></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="color: #c00000; font-family: "Arial Narrow",sans-serif; font-size: 16.0pt; letter-spacing: 2.4pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt; text-transform: uppercase;">11 de Outubro de 2017<o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-margin-top-alt: auto; mso-outline-level: 1; text-align: center;"><b><span style="color: #c00000; font-family: "Elephant",serif; font-size: 16.0pt; letter-spacing: 2.4pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt; text-transform: uppercase;">********</span></b><span style="font-family: "Elephant",serif; mso-fareast-language: ZH-CN;"><o:p></o:p></span></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-margin-top-alt: auto; mso-outline-level: 1; text-align: center;"><b><span style="font-family: "Footlight MT Light",serif; font-size: 16.0pt; mso-bidi-font-size: 14.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;">SUMÁRIO do 9º ANO do BLOG: ISTO é ARTE.<o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span style="font-family: "Verdana",sans-serif; font-size: 11.0pt;"><a href="http://profciriosimon.blogspot.com/2018/10/251-isto-e-arte-sumario-9.html"><span style="color: blue;">http://profciriosimon.blogspot.com/2018/10/251-isto-e-arte-sumario-9.html</span></a><o:p></o:p></span></p><div style="border-bottom: dotted windowtext 3.0pt; border: none; mso-element: para-border-div; padding: 0cm 0cm 1.0pt 0cm;">
<p align="center" class="MsoNormal" style="border: none; mso-border-bottom-alt: dotted windowtext 3.0pt; mso-hyphenate: none; mso-outline-level: 1; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm; text-align: center;"><b><span style="color: #c00000; font-family: "Arial Narrow",sans-serif; font-size: 16.0pt; letter-spacing: 2.4pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt; text-transform: uppercase;">12 de
Outubro de 2018<o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="border: none; mso-border-bottom-alt: dotted windowtext 3.0pt; mso-hyphenate: none; mso-outline-level: 1; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm; text-align: center;"><b><span style="color: #c00000; font-family: "Elephant",serif; font-size: 16.0pt; letter-spacing: 2.4pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt; text-transform: uppercase;">**********<o:p></o:p></span></b></p>
</div><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="font-family: "Footlight MT Light",serif; font-size: 16.0pt; mso-bidi-font-size: 14.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;"> </span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="font-family: "Footlight MT Light",serif; font-size: 16.0pt; mso-bidi-font-size: 14.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;">SUMÁRIO do 10º ANO do BLOG: ISTO é ARTE.<o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="font-family: "Arial",sans-serif; font-size: 14.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;"><a href="https://profciriosimon.blogspot.com/2019/10/271-isto-e-arte.html">https://profciriosimon.blogspot.com/2019/10/271-isto-e-arte.html</a><o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="color: #c00000; font-family: "Arial Narrow",sans-serif; font-size: 16.0pt; letter-spacing: 2.4pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt; text-transform: uppercase;">12 de Outubro de 2019<o:p></o:p></span></b></p><div style="border-bottom: dotted windowtext 3.0pt; border: none; mso-element: para-border-div; padding: 0cm 0cm 1.0pt 0cm;">
<p align="center" class="MsoNormal" style="border: none; mso-border-bottom-alt: dotted windowtext 3.0pt; mso-hyphenate: none; mso-outline-level: 1; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm; text-align: center;"><b><span style="color: #c00000; font-family: "Elephant",serif; font-size: 16.0pt; letter-spacing: 2.4pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt; text-transform: uppercase;">**********</span></b><o:p></o:p></p>
</div><p align="center" class="MsoNormal" style="margin-bottom: 3.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="font-family: "Arial Narrow",sans-serif; font-size: 24.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;">SUMÁRIO do 11º ANO do BLOG:
ISTO é ARTE.<o:p></o:p></span></b></p><div style="border-bottom: dotted windowtext 3.0pt; border: none; mso-element: para-border-div; padding: 0cm 0cm 1.0pt 0cm;">
<p align="center" class="MsoNormal" style="border: none; mso-border-bottom-alt: dotted windowtext 3.0pt; mso-hyphenate: none; mso-outline-level: 1; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm; text-align: center;"><b><span style="color: #c00000; font-family: "Elephant",serif; font-size: 16.0pt; letter-spacing: 2.4pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt; text-transform: uppercase;">15 de outobro de 2020<o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="border: none; mso-border-bottom-alt: dotted windowtext 3.0pt; mso-hyphenate: none; mso-outline-level: 1; mso-padding-alt: 0cm 0cm 1.0pt 0cm; padding: 0cm; text-align: center;"><b><span style="color: #c00000; font-family: "Elephant",serif; font-size: 16.0pt; letter-spacing: 2.4pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt; text-transform: uppercase;">***********</span></b><b><span style="font-family: "Arial Narrow",sans-serif; font-size: 24.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;"><o:p></o:p></span></b></p>
</div><p align="center" class="MsoNormal" style="margin-bottom: 3.0pt; margin-left: 0cm; margin-right: 0cm; margin-top: 12.0pt; mso-hyphenate: none; mso-outline-level: 1; text-align: center;"><b><span style="font-family: "Arial Narrow",sans-serif; font-size: 24.0pt; mso-fareast-language: ZH-CN; mso-font-kerning: 14.0pt;"> </span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;">
<b><span style="font-family: "Verdana",sans-serif; font-size: 18.0pt; mso-fareast-language: ZH-CN;"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-family: "Arial Narrow", sans-serif; font-size: 14pt;">272 – ISTO é ARTE</span></b></div><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBNv2fJLABPBZPKFCD8yXqTjnHj6tcmh7rwcFfb5p4MBQ_ws6Ke_QHA4ZiE0wMpA1GOczKIGbnIjtTppyGdmbQ5mE6iB8BfMrd1cj6WzP3wckqRQZpFncDMc1L9ycWEn_-5j9W9bOfdWuF/s1929/272.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1929" data-original-width="1527" height="491" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBNv2fJLABPBZPKFCD8yXqTjnHj6tcmh7rwcFfb5p4MBQ_ws6Ke_QHA4ZiE0wMpA1GOczKIGbnIjtTppyGdmbQ5mE6iB8BfMrd1cj6WzP3wckqRQZpFncDMc1L9ycWEn_-5j9W9bOfdWuF/w348-h491/272.jpg" width="348" /></a></b></div><b><br />AS ARTES VISUAIS do final do
séc. XIX e o Rio Grande do Sul frente ao
projeto republicano. <o:p></o:p></b><p></p>
<p align="center" class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; text-align: center;"><a href="https://profciriosimon.blogspot.com/2019/10/272-isto-e-arte.html" style="font-family: Verdana, sans-serif;"><span style="color: blue;">https://profciriosimon.blogspot.com/2019/10/272-isto-e-arte.html</span></a><span style="font-family: "Verdana",sans-serif; mso-bidi-font-family: Verdana; mso-fareast-language: ZH-CN;"> </span></p><p align="center" class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; text-align: center;"><span style="font-family: "Verdana",sans-serif; mso-bidi-font-family: Verdana; mso-fareast-language: ZH-CN;"><br /></span></p><p align="center" class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; text-align: center;"><span style="font-family: "Verdana",sans-serif; mso-bidi-font-family: Verdana; mso-fareast-language: ZH-CN;"><br /></span></p><p align="center" class="MsoNormal" style="margin-bottom: 10.0pt; text-align: center;">
<b><span style="font-family: "Arial Black",sans-serif; font-size: 20.0pt; mso-bidi-font-size: 18.0pt;"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-family: "Arial Narrow", sans-serif; font-size: 14pt;">274 ISTO é ARTE</span></b></div><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdmGXGwa0AuwgDuGm0C99w8vZefQgDV3vCelAjaHF9zqR4EEbab824ycNyf97zgziJoXMz8vjOHez-aTX-KZzlwIjvmTk8BpB15rKfvq0MIzmo1OSK9LegDfcGpCcml01WLUUeciHxuWeD/s2199/273.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="924" data-original-width="2199" height="182" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdmGXGwa0AuwgDuGm0C99w8vZefQgDV3vCelAjaHF9zqR4EEbab824ycNyf97zgziJoXMz8vjOHez-aTX-KZzlwIjvmTk8BpB15rKfvq0MIzmo1OSK9LegDfcGpCcml01WLUUeciHxuWeD/w381-h182/273.jpg" width="381" /></a></b></div><b>O papel da Escola de Belas Artes,
fundada em 1910. <o:p></o:p></b><p></p><p align="center" class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; text-align: center;"><span style="font-family: "Verdana",sans-serif; mso-bidi-font-family: Verdana; mso-fareast-language: ZH-CN;"><a href="https://profciriosimon.blogspot.com/2019/10/273-isto-e-arte.html"><span style="color: blue;">https://profciriosimon.blogspot.com/2019/10/273-isto-e-arte.html</span></a><o:p></o:p></span></p><p align="center" class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; text-align: center;"><span style="font-family: "Verdana",sans-serif; mso-bidi-font-family: Verdana; mso-fareast-language: ZH-CN;"> </span></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;">
<b><span style="font-family: "Arial Black",sans-serif; font-size: 20.0pt; mso-fareast-language: ZH-CN;"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-family: "Arial Narrow", sans-serif; font-size: 14pt;">274 ISTO é ARTE</span></b></div><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcVO5NzU0OLW30XP7_cJqb41wxcyLsTLm92o7CXncSAgIXb4Wx__wNTuLSL79ngMYo_k6Q1YJLgIA3jwQirn7Ub3_Rz1j-ecxRionBijx2GDTOX2ZRX0iGmQPEIcevsLzuBqDPBt32rKPb/s1158/274.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1158" data-original-width="711" height="489" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcVO5NzU0OLW30XP7_cJqb41wxcyLsTLm92o7CXncSAgIXb4Wx__wNTuLSL79ngMYo_k6Q1YJLgIA3jwQirn7Ub3_Rz1j-ecxRionBijx2GDTOX2ZRX0iGmQPEIcevsLzuBqDPBt32rKPb/w318-h489/274.jpg" width="318" /></a></b></div><b>A pintura no Rio Grande de
Sul entre 1910 e 1930<o:p></o:p></b><p></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span style="font-family: "Verdana",sans-serif; mso-fareast-language: ZH-CN;"><a href="https://profciriosimon.blogspot.com/2019/10/274-isto-e-arte.html">https://profciriosimon.blogspot.com/2019/10/274-isto-e-arte.html</a><o:p></o:p></span></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><b><span style="font-family: "Arial Black",sans-serif; font-size: 20.0pt; mso-fareast-language: ZH-CN;"> </span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;">
<b><span style="font-family: "Arial Black",sans-serif; font-size: 18.0pt; mso-fareast-language: ZH-CN;"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-family: "Arial Narrow", sans-serif; font-size: 14pt;">275 – ISTO é ARTE</span></b></div><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjql1NKyDxh3yInxmJ2_g9gp4jbLCeucWPZGfdggI6xfq0oCx3wOZLwHUP0SDGREVQS73ltA0BXjZFWX0hH6CPWSNDDfhwAHrn7ifvARQccKSI4FbSHScFSt1ZTWYXyJFS6_cCDUwsF9VNq/s1504/276.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1071" data-original-width="1504" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjql1NKyDxh3yInxmJ2_g9gp4jbLCeucWPZGfdggI6xfq0oCx3wOZLwHUP0SDGREVQS73ltA0BXjZFWX0hH6CPWSNDDfhwAHrn7ifvARQccKSI4FbSHScFSt1ZTWYXyJFS6_cCDUwsF9VNq/w379-h308/276.jpg" width="379" /></a></b></div><b>A crítica e a reflexão
relativa à arte no Rio Grande do Sul entre 1900 e 1930<o:p></o:p></b><p></p><p align="center" class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; text-align: center;"><span style="font-family: "Verdana",sans-serif; mso-bidi-font-family: Verdana; mso-fareast-language: ZH-CN;"><a href="https://profciriosimon.blogspot.com/2019/11/275-isto-e-arte.html"><span style="color: blue;">https://profciriosimon.blogspot.com/2019/11/275-isto-e-arte.html</span></a><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 150%; mso-hyphenate: none;"><span style="font-family: "Verdana",sans-serif; mso-bidi-font-family: Verdana; mso-fareast-language: ZH-CN;"> </span></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;">
<b><span style="font-family: "Arial Black",sans-serif; font-size: 18.0pt; mso-fareast-language: ZH-CN;"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-family: "Arial Narrow", sans-serif; font-size: 14pt;">276 – ISTO</span><span style="font-family: "Arial Narrow", sans-serif; font-size: 14pt;"> </span><span style="font-family: "Arial Narrow", sans-serif; font-size: 14pt;">é ARTE</span></b></div><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvedZSmVSFwieRtXmhRgYlC93ouJmpgrmQnCXDeRYTl3eSi0A_or9dDnpJC5hYFpH63YCi3Msp-V6vhb9N6pPfF7D7TqXIE3KdQ1ti3G2A31t0_D2nTIMwbpL7R4CAgv1Y4Bh1lryRuiD7/s1659/276b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="915" data-original-width="1659" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvedZSmVSFwieRtXmhRgYlC93ouJmpgrmQnCXDeRYTl3eSi0A_or9dDnpJC5hYFpH63YCi3Msp-V6vhb9N6pPfF7D7TqXIE3KdQ1ti3G2A31t0_D2nTIMwbpL7R4CAgv1Y4Bh1lryRuiD7/w392-h263/276b.jpg" width="392" /></a></b></div><b>A CONSTRUÇÃO do ATUAL
PRÉDIO do INSTITUTO DE EDUCAÇÃO FLORES da CUNHA na MEMÓRIA do seu ARQUITETO,
FERNANDO CORONA.<o:p></o:p></b><p></p><p align="center" class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; text-align: center;"><span style="font-family: "Verdana",sans-serif; mso-bidi-font-family: Verdana; mso-fareast-language: ZH-CN;"><a href="https://profciriosimon.blogspot.com/2019/11/276-isto-e-arte.html"><span style="color: blue;">https://profciriosimon.blogspot.com/2019/11/276-isto-e-arte.html</span></a><o:p></o:p></span></p><p align="center" class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; text-align: center;"><span style="font-family: "Verdana",sans-serif; mso-bidi-font-family: Verdana; mso-fareast-language: ZH-CN;"> </span></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;">
<b><span style="font-family: "Arial Black",sans-serif; font-size: 18.0pt; mso-fareast-language: ZH-CN;"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-family: "Arial Narrow", sans-serif; font-size: 14pt;">277 – ISTO</span><span style="font-family: "Arial Narrow", sans-serif; font-size: 14pt;"> </span><span style="font-family: "Arial Narrow", sans-serif; font-size: 14pt;">é ARTE</span></b></div><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLF59YlwX_90Im5vuxtZJG42T9e4Z0prnlUBGIV251FN8StDd63OBDNHJpcXPpwcP58RioJfYp5UnKPMtvLfZECV9bumDk5Q_NzvELJvM5odCm00QRvHvKDDAKoIGoPD91YYwOHb278lUx/s1920/277.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="702" data-original-width="1920" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLF59YlwX_90Im5vuxtZJG42T9e4Z0prnlUBGIV251FN8StDd63OBDNHJpcXPpwcP58RioJfYp5UnKPMtvLfZECV9bumDk5Q_NzvELJvM5odCm00QRvHvKDDAKoIGoPD91YYwOHb278lUx/w379-h176/277.jpg" width="379" /></a></b></div><b>FONTE de TALAVERA na
MEMÓRIA de FERNANDO CORONA.<o:p></o:p></b><p></p><p align="center" class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; text-align: center;"><b><span style="font-family: "Arial Narrow",sans-serif; font-size: 14.0pt; line-height: 150%; mso-fareast-language: ZH-CN;"><a href="https://profciriosimon.blogspot.com/2019/12/277-isto-e-arte.html"><span style="color: blue;">https://profciriosimon.blogspot.com/2019/12/277-isto-e-arte.html</span></a><o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; text-align: center;"><o:p> </o:p></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;">
<b><span style="font-family: "Arial Black",sans-serif; font-size: 18.0pt; mso-bidi-font-family: "Arial Black"; mso-fareast-language: ZH-CN;"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-family: "Arial Narrow", sans-serif; font-size: 14pt;">278 –ISTO é ARTE -</span><span style="font-family: "Arial Narrow", sans-serif; font-size: 14pt;"> </span><span style="font-family: "Arial Narrow", sans-serif; font-size: 14pt;">GUERRA
ESTÉTICA</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDJ6eNDCSj_ykT5JF3G5VLQgwsS624YdfqEkreiNRR_dFQPTO3Lhu077-In6S7pjFIfPPqgHYWrWtS96oXf-PQovBhZ-BgbB8Eyo0Ef_5f3NcufjrJfqIz9obXE0gPsbsaVmckyomPtRpk/s2048/279.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1311" data-original-width="2048" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDJ6eNDCSj_ykT5JF3G5VLQgwsS624YdfqEkreiNRR_dFQPTO3Lhu077-In6S7pjFIfPPqgHYWrWtS96oXf-PQovBhZ-BgbB8Eyo0Ef_5f3NcufjrJfqIz9obXE0gPsbsaVmckyomPtRpk/w392-h312/279.jpg" width="392" /></a></b></div><b>O CONFLITO entre “ISTO é ARTE” e “ISTO NÃO É ARTE”</b><o:p></o:p><p></p><p align="center" class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; text-align: center;"><a href="https://profciriosimon.blogspot.com/2020/01/278-isto-e-arte-guerra-estetica.html"><b><span style="color: blue; font-family: "Arial",sans-serif; font-size: 11.0pt; line-height: 150%; mso-bidi-font-family: "Times New Roman";">https://profciriosimon.blogspot.com/2020/01/278-isto-e-arte-guerra-estetica.html</span></b></a><o:p></o:p></p><p align="center" class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; text-align: center;"><o:p> </o:p></p><p align="center" class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; text-align: center;"><span style="font-family: "Arial Black",sans-serif; font-size: 16.0pt; line-height: 150%; mso-bidi-font-size: 12.0pt; mso-fareast-language: ZH-CN;">
</span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Arial Narrow", sans-serif; font-size: 14pt;">279. ISTO é ARTE</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzZF-xO2FOHtzBq0Ddo_1rxYstKydoSFCw-pDjsuKd0OICAs7BKGJ2Fl2tj2VyqZmuMWpXKSlYUfkB6wZ2r0tstrjftmN6a7a4sMCHP4dr4gZb1qOopiW8duaYMfcFDh-MJewAt6GgJ-ZK/s1500/280.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1119" data-original-width="1500" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzZF-xO2FOHtzBq0Ddo_1rxYstKydoSFCw-pDjsuKd0OICAs7BKGJ2Fl2tj2VyqZmuMWpXKSlYUfkB6wZ2r0tstrjftmN6a7a4sMCHP4dr4gZb1qOopiW8duaYMfcFDh-MJewAt6GgJ-ZK/w380-h281/280.jpg" width="380" /></a></div>Uma TOURADA FRUSTRADA pelo TOURO<o:p></o:p><p></p><p align="center" class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; text-align: center;"><span style="font-family: "Verdana",sans-serif; mso-bidi-font-family: Verdana; mso-fareast-language: ZH-CN;"><a href="https://profciriosimon.blogspot.com/2020/02/279-isto-e-arte.html"><span style="color: blue;">https://profciriosimon.blogspot.com/2020/02/279-isto-e-arte.html</span></a><o:p></o:p></span></p><p align="center" class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; text-align: center;"><o:p> </o:p></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;">
<b><span style="font-family: "Arial Black",sans-serif; font-size: 18.0pt; mso-bidi-font-family: "Arial Black"; mso-fareast-language: ZH-CN;"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-family: "Arial Narrow", sans-serif; font-size: 14pt;">280 –ISTO é ARTE –</span></b></div><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp1binadv8S81ucTv3Nc6DGLLfhrVD89Zoi5iR1HnOBow8myma8BGo6lJC6afc1rgsMONMFRx7GjwAtleeaNqUQYw5UMwf2y1xGtjM9jeqmmvqrU_LwtqDB7SIud4c5IBR7Kq_v8q_CYBa/s2000/281.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1564" data-original-width="2000" height="331" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp1binadv8S81ucTv3Nc6DGLLfhrVD89Zoi5iR1HnOBow8myma8BGo6lJC6afc1rgsMONMFRx7GjwAtleeaNqUQYw5UMwf2y1xGtjM9jeqmmvqrU_LwtqDB7SIud4c5IBR7Kq_v8q_CYBa/w382-h331/281.jpg" width="382" /></a></b></div><b>ARTES VISUAIS no RIO GRANDE do SUL na DÉCADA de 1920.<o:p></o:p></b><p></p><div class="separator" style="clear: both; text-align: center;">
<p align="center" class="MsoNormal" style="line-height: 150%;"><b><span style="font-family: "Arial",sans-serif; mso-fareast-language: ZH-CN;"><a href="https://profciriosimon.blogspot.com/2020/02/280-isto-e-arte.html"><span style="color: blue;">https://profciriosimon.blogspot.com/2020/02/280-isto-e-arte.html</span></a><o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="line-height: 150%;"><b><span style="font-family: "Arial",sans-serif; mso-fareast-language: ZH-CN;"> </span></b></p>
<p align="center" class="MsoNormal" style="line-height: 150%;"><span style="font-family: "Arial Narrow",sans-serif; font-size: 14.0pt; line-height: 150%; mso-fareast-language: ZH-CN;">281 –ISTO é ARTE –<o:p></o:p></span></p><p align="center" class="MsoNormal" style="line-height: 150%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUWZMwxamzCB6VVUHHMbcSq-FTfCL_xiqu8dm1gRv7mSM5nefTgE4gN3AgceYVc4gM7SfsuygKWH-FmWiAqYKrrR9bY0NNZj4tVndricjUC_bSclNfXzSKJuyqQKdCOdEdwtOUI7KyKYea/s1715/282-a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1027" data-original-width="1715" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUWZMwxamzCB6VVUHHMbcSq-FTfCL_xiqu8dm1gRv7mSM5nefTgE4gN3AgceYVc4gM7SfsuygKWH-FmWiAqYKrrR9bY0NNZj4tVndricjUC_bSclNfXzSKJuyqQKdCOdEdwtOUI7KyKYea/w384-h246/282-a.jpg" width="384" /></a></div><p></p></div><p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><b><span style="font-family: "Arial Black",sans-serif; font-size: 18.0pt; mso-bidi-font-family: "Arial Black"; mso-fareast-language: ZH-CN;">O QUE REPRESENTOU a REVOLUÇÃO de 1930, o ESTADO NOVO e o POPULISMO para
os ARTISTAS e para ARTE.<o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; text-align: center;"><b><span style="font-family: "Arial",sans-serif; mso-fareast-language: ZH-CN;"><a href="https://profciriosimon.blogspot.com/2020/03/281-isto-e-arte.html"><span style="color: blue;">https://profciriosimon.blogspot.com/2020/03/281-isto-e-arte.html</span></a><o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; text-align: center;"><b><span style="font-family: "Arial",sans-serif; mso-fareast-language: ZH-CN;"> </span></b></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;">
<span style="font-family: "Arial Black",sans-serif; font-size: 18.0pt; mso-fareast-language: ZH-CN;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Arial Narrow", sans-serif; font-size: 14pt;">282 –ISTO é ARTE –</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixtvTAfp0O_lVxWLQdxIh5vfCPM0TC4jVym4cp9T0KDDOaSmMCZ39Ns5Aas1fbKhWXYjhSCEaGVPRb7rCa2K_GyZ0woql_ege8A51LI_lFHjiUNo2UAtl7uPYkgAebjSeY-qTS_RckPED8/s1393/283.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="797" data-original-width="1393" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixtvTAfp0O_lVxWLQdxIh5vfCPM0TC4jVym4cp9T0KDDOaSmMCZ39Ns5Aas1fbKhWXYjhSCEaGVPRb7rCa2K_GyZ0woql_ege8A51LI_lFHjiUNo2UAtl7uPYkgAebjSeY-qTS_RckPED8/w375-h260/283.jpg" width="375" /></a></div>1938: o ano de renovação docente do Instituto de Artes: a trajetória de José Lutzenberger e de
Fernando Corona<p></p><p align="center" class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; text-align: center;"><span style="font-family: "Arial",sans-serif; mso-fareast-language: ZH-CN;"><a href="https://profciriosimon.blogspot.com/2020/03/282-isto-e-arte.html"><span style="color: blue;">https://profciriosimon.blogspot.com/2020/03/282-isto-e-arte.html</span></a><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; text-align: justify;"><span style="font-family: "Verdana",sans-serif; mso-bidi-font-family: Verdana; mso-fareast-language: ZH-CN;"> </span></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;">
<span style="font-family: "Arial Black",sans-serif; font-size: 18.0pt; mso-fareast-language: ZH-CN;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: 14pt; text-align: justify;">283 –ISTO é ARTE –</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLXvY2eTLkFJDLhUnHXlh8FNOnNxGULqSHh6HSaUsFgjvOWCSL4vVpftzDY6mNZ47Nr15n7-hAYeq0tp5Kxn0zvY83jKjPEyzblgp_6upO2pprarHNSteuljGy4xbJKgQyTqJ16GBWX-A5/s2048/284.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1508" height="367" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLXvY2eTLkFJDLhUnHXlh8FNOnNxGULqSHh6HSaUsFgjvOWCSL4vVpftzDY6mNZ47Nr15n7-hAYeq0tp5Kxn0zvY83jKjPEyzblgp_6upO2pprarHNSteuljGy4xbJKgQyTqJ16GBWX-A5/w376-h367/284.jpg" width="376" /></a></div>A presença das mulheres-artistas nas artes visuais nobres do Rio Grande
do Sul (1930-64)<o:p></o:p><p></p><p class="MsoNormal" style="line-height: 150%; text-align: center;"><span style="font-family: "Verdana",sans-serif; mso-bidi-font-family: Verdana; mso-fareast-language: ZH-CN;"><a href="https://profciriosimon.blogspot.com/2020/03/284-isto-e-arte.html"><span style="color: blue;">https://profciriosimon.blogspot.com/2020/03/284-isto-e-arte.html</span></a><o:p></o:p></span></p><p align="center" class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; text-align: center;"><o:p> </o:p></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;">
<span style="font-family: "Arial Black",sans-serif; font-size: 18.0pt; mso-fareast-language: ZH-CN;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Arial Narrow", sans-serif; font-size: 14pt; text-align: justify;">284 –ISTO é
ARTE –</span></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG5I1JHlh2M4sPvwm_-6mkcRuWWlrclv8QD2rt1tFlL7C3J222JptWAuGsCVwNfLW9kLPjLCX_ywFZPomh4n2Vcgn-f3mdSzf464Sjgmm8OBYMdVdKG9eKPZc-0a_z9M32g7PQCM3LVf00/s1286/284+b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="727" data-original-width="1286" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjG5I1JHlh2M4sPvwm_-6mkcRuWWlrclv8QD2rt1tFlL7C3J222JptWAuGsCVwNfLW9kLPjLCX_ywFZPomh4n2Vcgn-f3mdSzf464Sjgmm8OBYMdVdKG9eKPZc-0a_z9M32g7PQCM3LVf00/w365-h264/284+b.jpg" width="365" /></a></div></div>O papel da Escola de Belas Artes no período 1930-1964 <o:p></o:p><p></p><p align="center" class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; text-align: center;"><span style="font-family: "Arial Narrow",sans-serif; font-size: 14.0pt; line-height: 150%; mso-bidi-font-size: 12.0pt; mso-fareast-language: ZH-CN;"><span style="color: #0563c1;"><a href="https://profciriosimon.blogspot.com/2020/04/284-isto-e-arte.html">https://profciriosimon.blogspot.com/2020/04/284-isto-e-arte.html</a></span><o:p></o:p></span></p><p align="center" class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; text-align: center;"><br /></p><p align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "Arial Black",sans-serif; font-size: 18.0pt; mso-bidi-font-size: 16.0pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Arial Narrow", sans-serif; font-size: 14pt; text-align: left;">ESTUDOS
de ARTE nº </span><span style="font-family: "Arial Narrow", sans-serif; font-size: 14pt; text-align: left;">285 - DOIS
MESES de SESSÕES VIRTUAIS</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFWY28LLrjm5MADje8HkIH9CQM-83Yaf-oNAf2YJ2w2Yr_d8lugL6yyTOSI44PzgYxL_kuCVZaGPYrmTklz8UmDKG9erbNJEPLcp2a3sy1eFm03Z5W_-Zkzs76vIbS2RqWXRmLEjtDm7mJ/s2048/285.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1646" data-original-width="2048" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFWY28LLrjm5MADje8HkIH9CQM-83Yaf-oNAf2YJ2w2Yr_d8lugL6yyTOSI44PzgYxL_kuCVZaGPYrmTklz8UmDKG9erbNJEPLcp2a3sy1eFm03Z5W_-Zkzs76vIbS2RqWXRmLEjtDm7mJ/w370-h319/285.jpg" width="370" /></a></div>DOIS
MESES de SESSÕES VIRTUAIS do GRUPO de PESQUISAS da AAMARGS<o:p></o:p><p></p><p class="MsoNormal" style="text-align: center;"><a href="https://profciriosimon.blogspot.com/2020/05/285-dois-meses-de-sessoes-virtuais.html"><span style="color: blue;">https://profciriosimon.blogspot.com/2020/05/285-dois-meses-de-sessoes-virtuais.html</span></a><o:p></o:p></p><p class="MsoNormal"><o:p> </o:p></p><p align="center" class="MsoNormal" style="text-align: center;">
<b><span style="font-family: "Arial Black",sans-serif; font-size: 22.0pt;"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-family: "Arial Narrow", sans-serif; font-size: 14pt; text-align: justify;">ESTUDOS de ARTE nº 286</span><span style="font-family: "Arial Narrow", sans-serif; font-size: 14pt; text-align: justify;"> </span></b></div><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR2YhduuSkKWgXoO9z2YTM4JISYDDDixtjDQ51Cqs_xkecI-CZF_IC4BXvTvDpxNc45IfoerOK2EVTgZgaW_QUwxtCzsYP7vajC2NKJXi3WnZjSbclvmhCnMzyXUcj_wEa4R2KiVbBVZvl/s2048/286.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1566" data-original-width="2048" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR2YhduuSkKWgXoO9z2YTM4JISYDDDixtjDQ51Cqs_xkecI-CZF_IC4BXvTvDpxNc45IfoerOK2EVTgZgaW_QUwxtCzsYP7vajC2NKJXi3WnZjSbclvmhCnMzyXUcj_wEa4R2KiVbBVZvl/w368-h280/286.jpg" width="368" /></a></b></div><b>ALÉM
de uma CENTENA de SESSÕES VIRTUAIS do GRUPO de PESQUISAS da AAMARGS<o:p></o:p></b><p></p><div class="separator" style="clear: both; text-align: center;">
<p align="center" class="MsoNormal"><span style="font-family: "Arial Narrow",sans-serif;"><a href="https://profciriosimon.blogspot.com/2020/07/286-centena-de-sessoes.html">https://profciriosimon.blogspot.com/2020/07/286-centena-de-sessoes.html</a><o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span style="font-family: "Arial Narrow",sans-serif;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Arial Narrow", sans-serif; font-size: 14pt;"> </span></p>
<p class="MsoNormal"><span style="font-family: "Arial Narrow",sans-serif; font-size: 14.0pt;">ESTUDOS
de ARTE nº 287 <o:p></o:p></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiloLo6Uup3X1Ll8vyqfzkOlI1J0ZhhuX0Df4WSiNTCJQj4cX4K50EkEt8IS-EwJ8qz4sQxuXi2K7ZHFyuOGa2xvq-TIc3BrLRD_HGkDmQC5NbqrUOT7TaZuxw0mh2QwVYXMLOgqOz4PRRS/s771/287.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="737" data-original-width="771" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiloLo6Uup3X1Ll8vyqfzkOlI1J0ZhhuX0Df4WSiNTCJQj4cX4K50EkEt8IS-EwJ8qz4sQxuXi2K7ZHFyuOGa2xvq-TIc3BrLRD_HGkDmQC5NbqrUOT7TaZuxw0mh2QwVYXMLOgqOz4PRRS/w380-h358/287.jpg" width="380" /></a></div><p></p></div><p align="center" class="MsoNormal" style="text-align: center;"><b><span style="font-family: "Arial Black",sans-serif; font-size: 22.0pt;">O
DESENHO no RIO GRANDE do SUL <o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="text-align: center;"><a href="https://profciriosimon.blogspot.com/2020/09/estudos-de-arte-n-287.html">https://profciriosimon.blogspot.com/2020/09/estudos-de-arte-n-287.html</a><o:p></o:p></p><p align="center" class="MsoNormal" style="text-align: center;"><o:p> </o:p></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;">
<b><span style="font-family: "Arial Black",sans-serif; font-size: 18.0pt;"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-family: "Arial Narrow", sans-serif; font-size: 14pt; text-align: left;">ESTUDOS
de ARTE nº 288</span><span style="font-family: "Arial Narrow", sans-serif; font-size: 14pt; text-align: left;"> </span></b></div><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsdQQEXGhxA41qbpA8OHHtF2_fiL4Atd24YpjLUX9lzev_c3-1PAr4UpsmVqekFK9NdiCGMRsPZVo57bRMFsjZhWQpLpBKhSQw_nu4qr74dhIkMVGkQ0GwnzTtibYP0SapruxLvtyDbpK_/s965/288.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="965" data-original-width="717" height="381" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsdQQEXGhxA41qbpA8OHHtF2_fiL4Atd24YpjLUX9lzev_c3-1PAr4UpsmVqekFK9NdiCGMRsPZVo57bRMFsjZhWQpLpBKhSQw_nu4qr74dhIkMVGkQ0GwnzTtibYP0SapruxLvtyDbpK_/w284-h381/288.jpg" width="284" /></a></b></div><b>UM SÉCULO</b><span style="font-family: "Arial Black", sans-serif; font-size: 18pt;">
de ASSOCIAÇÕES dos ARTISTAS VISUAIS SUL-RIO-GRANDENSES<o:p></o:p></span><p></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span style="font-family: "Arial Black", sans-serif; font-size: 18pt;">- 1ª parte: décadas de 1890 até 1930 -</span></p><p align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: "Arial Black",sans-serif; font-size: 10.0pt; mso-bidi-font-size: 12.0pt;"><a href="https://profciriosimon.blogspot.com/2020/10/estudos-de-arte-n-288.html"><span style="color: blue;">https://profciriosimon.blogspot.com/2020/10/estudos-de-arte-n-288.html</span></a><o:p></o:p></span></p><p align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: "Arial Black",sans-serif; font-size: 10.0pt; mso-bidi-font-size: 12.0pt;"> </span></p><p align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: "Arial Narrow",sans-serif; font-size: 14.0pt;"> </span></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;">
<b><span style="font-family: "Arial Black",sans-serif; font-size: 18.0pt;"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="font-family: "Arial Narrow", sans-serif; font-size: 14pt; text-align: left;">ESTUDOS
de ARTE nº 289</span><span style="font-family: "Arial Narrow", sans-serif; font-size: 14pt; text-align: left;"> </span></b></div><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi15dLBUDU-0NjFSbZ-bSRwyYMEenQLlPfXQIoZmHXILVdlTojCX9QlNXh6npPscmJ5wcGes-tF1Vzbr_G-a50dtoGffZEC_NESDnhfZMPg69dHwoLQc3xDG_Ik0h3LWQ07SXBqabiCuEbH/s1406/289.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="641" data-original-width="1406" height="184" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi15dLBUDU-0NjFSbZ-bSRwyYMEenQLlPfXQIoZmHXILVdlTojCX9QlNXh6npPscmJ5wcGes-tF1Vzbr_G-a50dtoGffZEC_NESDnhfZMPg69dHwoLQc3xDG_Ik0h3LWQ07SXBqabiCuEbH/w377-h184/289.jpg" width="377" /></a></b></div><b>UM SÉCULO</b><span style="font-family: "Arial Black", sans-serif; font-size: 18pt;">
de ASSOCIAÇÕES dos ARTISTAS VISUAIS SUL-RIO-GRANDENSES<o:p></o:p></span><p></p><div class="separator" style="clear: both; text-align: center;">
<p align="center" class="MsoNormal"><span style="font-family: "Arial Black", sans-serif; font-size: 18pt;">- 2 ª parte: décadas de 1930 até -1990<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span style="font-family: "Arial Black", sans-serif; font-size: 14pt;">Os ARTISTAS VISUAIS SUL-RIO-GRANDENSES no CAMINHO da
REPÚBLICA ADULTA e GUERREIRA.</span></p>
<p align="center" class="MsoNormal"><span style="color: blue;"><a href="https://profciriosimon.blogspot.com/2020/10/estudos-de-arte-n-289.html">https://profciriosimon.blogspot.com/2020/10/estudos-de-arte-n-289.html</a></span><o:p></o:p></p><p align="center" class="MsoNormal"><br /></p><p align="center" class="MsoNormal"><br /></p><p align="center" class="MsoNormal"><br /></p><p align="center" class="MsoNormal"><br /></p></div><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizQpbG7zkyCf9SZE9XrnbpckE5ZXw6vUVo-78-ieoo5H_7JWLXjzRpX37suxirAclwpLzCq1C2JFs5SVhxGOESQTIv8C6tN2oeVkgb1OaBShmPPdS2JvKVbYwwROPNgBAoiCYtH4H0ivJz/s221/290+++-+CREATIVE+COMMONS.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="49" data-original-width="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizQpbG7zkyCf9SZE9XrnbpckE5ZXw6vUVo-78-ieoo5H_7JWLXjzRpX37suxirAclwpLzCq1C2JFs5SVhxGOESQTIv8C6tN2oeVkgb1OaBShmPPdS2JvKVbYwwROPNgBAoiCYtH4H0ivJz/s0/290+++-+CREATIVE+COMMONS.jpg" /></a></div><br /><p></p><p align="center" class="MsoNormal" style="margin-right: -11.7pt; mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="color: #c00000; font-family: "Arial Narrow",sans-serif; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">Este
material possui uso restrito ao apoio do processo continuado de
ensino-aprendizagem</span><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin-right: -11.7pt; mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="color: #c00000; font-family: "Arial Narrow",sans-serif; font-size: 11.0pt; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">Não há pretensão de lucro ou de apoio
financeiro nem ao autor e nem aos seus eventuais usuários</span><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin-right: -11.7pt; mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="color: #c00000; font-family: "Arial Narrow",sans-serif; font-size: 11.0pt; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">Este material é editado e divulgado
em língua nacional brasileira e respeita a formação histórica deste idioma.</span><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="color: #984806; font-family: "Arial Narrow",sans-serif; font-size: 11.0pt; mso-bidi-font-family: "Arial Narrow"; mso-fareast-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><span style="mso-spacerun: yes;">
</span></span><span style="mso-fareast-language: ZH-CN;"><a href="http://creativecommons.org/licenses/by/3.0/"><span style="color: navy; font-family: "Arial Narrow",sans-serif; font-size: 9.0pt; mso-bidi-font-family: "Arial Narrow";">http://creativecommons.org/licenses/by/3.0/</span></a></span><span style="font-family: "Arial Narrow",sans-serif; font-size: 9.0pt; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="font-family: "Arial Narrow",sans-serif; font-size: 9.0pt; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p> </o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial Narrow",sans-serif; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">ASSISTÊNCIA TÉCNICA e DIGITAL de<span style="mso-spacerun: yes;"> </span>CÌRIO JOSÉ SIMON</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="https://www.facebook.com/photo.php?fbid=10205784875074212&set=a.1709833538793.2091031.1026728341&type=1&theater"><b style="mso-bidi-font-weight: normal;"><span style="color: navy; font-family: "Arial Narrow",sans-serif; mso-bidi-font-family: "Arial Narrow";">https://www.facebook.com/photo.php?fbid=10205784875074212&set=a.1709833538793.2091031.1026728341&type=1&theater</span></b></a></span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial Narrow",sans-serif; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial Narrow",sans-serif; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p> </o:p></span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial Narrow",sans-serif; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">Referências para Círio SIMON</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial Narrow",sans-serif; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">E-MAIL</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="mailto:prof.cirio.simon@gmail.com"><b style="mso-bidi-font-weight: normal;"><span lang="ES" style="background: white; color: #1155cc; font-family: "Arial Narrow",sans-serif; mso-ansi-language: ES; mso-bidi-font-family: "Arial Narrow"; mso-font-kerning: 1.0pt;">prof.cirio.simon@gmail.com</span></b></a></span><b style="mso-bidi-font-weight: normal;"><span lang="ES" style="font-family: "Arial Narrow",sans-serif; mso-ansi-language: ES; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial Narrow",sans-serif; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN; mso-font-kerning: 1.0pt;">DISSERTAÇÃO: A Prática Democrática</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="http://www.lume.ufrgs.br/handle/10183/1445"><span style="color: blue; font-family: "Segoe UI",sans-serif; font-size: 10.0pt;">http://www.lume.ufrgs.br/handle/10183/1445</span></a></span><span style="color: black; font-family: "Segoe UI",sans-serif; font-size: 10.0pt; mso-fareast-language: ZH-CN;"> </span><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Segoe UI",sans-serif; mso-bidi-font-size: 10.0pt; mso-fareast-language: ZH-CN;">TESE</span></b><b style="mso-bidi-font-weight: normal;"><span style="color: black; font-family: "Segoe UI",sans-serif; font-size: 10.0pt; mso-fareast-language: ZH-CN;">: Origens do
Instituto de Artes da UFRGS</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="http://www.lume.ufrgs.br/handle/10183/2632"><span style="color: blue; font-family: "Segoe UI",sans-serif; font-size: 10.0pt;">http://www.lume.ufrgs.br/handle/10183/2632</span></a></span><span style="color: black; font-family: "Segoe UI",sans-serif; font-size: 10.0pt; mso-fareast-language: ZH-CN;"> </span><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
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<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial Narrow",sans-serif; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">BLOG PODER ORIGINÁRIO 02 ARQUIVO</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="http://prof-cirio-simon.webnode.com/"><span style="color: navy; font-family: "Arial Narrow",sans-serif; mso-bidi-font-family: "Arial Narrow";">http://prof-cirio-simon.webnode.com/</span></a></span><b style="mso-bidi-font-weight: normal;"><span style="font-family: "Arial Narrow",sans-serif; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span lang="ES-CL" style="font-family: "Arial Narrow",sans-serif; mso-ansi-language: ES-CL; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">VÌDEO</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; tab-stops: 219.75pt; text-align: center; text-indent: 2.25pt;"><span style="color: black; font-family: "Arial Narrow",sans-serif; mso-ansi-language: ES-CL; mso-bidi-font-family: "Arial Narrow"; mso-fareast-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><span style="mso-spacerun: yes;"> </span></span><span style="mso-fareast-language: ZH-CN;"><a href="http://www.youtube.com/watch?v=qdqXEg7ugxA"><span lang="ES-CL" style="color: navy; font-family: "Arial Narrow",sans-serif; mso-ansi-language: ES-CL; mso-bidi-font-family: "Arial Narrow";">http://www.youtube.com/watch?v=qdqXEg7ugxA</span></a></span><span lang="ES-CL" style="font-family: "Arial Narrow",sans-serif; font-size: 11.0pt; line-height: 150%; mso-ansi-language: ES-CL; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span style="font-family: "Arial Black",sans-serif; font-size: 14.0pt; mso-bidi-font-family: "Arial Black"; mso-fareast-language: ZH-CN;">.</span><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>Prof. Círio Simonhttp://www.blogger.com/profile/06566693954184732946noreply@blogger.com0tag:blogger.com,1999:blog-1362905750550965943.post-47111605145440232952020-10-05T05:14:00.001-07:002020-10-05T06:03:03.811-07:00 ESTUDOS de ARTE nº 289 <p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><b><span face=""Arial Black", sans-serif"><span style="font-family: arial; font-size: x-large;">UM SÉCULO</span></span></b><span face=""Arial Black", sans-serif"><span style="font-family: arial; font-size: x-large;"><b>
de ASSOCIAÇÕES dos ARTISTAS VISUAIS SUL-RIO-GRANDENSES</b></span><span style="font-size: 18pt;"><o:p></o:p></span></span></p><div class="separator" style="clear: both; text-align: center;">
<p align="center" class="MsoNormal"><span face=""Arial Black", sans-serif" style="font-size: 18pt;">- 2 ª parte: décadas de 1930 até -1990<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Black", sans-serif" style="font-size: 14pt;">Os ARTISTAS VISUAIS SUL-RIO-GRANDENSES no CAMINHO da
REPÚBLICA ADULTA e GUERREIRA.</span><span face=""Arial Black", sans-serif" style="font-size: 18pt;"><o:p></o:p></span></p></div><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_199qHvV-FJeJeAjyJeyW1mis25MiDEnBgu2oRncWjLShrXorL4OgEecdDzLSgXAWHejbKQLpdhEpTbNnS88ZaOjXj_k-kw4ZGvS39hoq0Dly6hI6n8Rkzcv15HM5nj8SuWhRbRkuxsYa/s862/01M%25C3%25A1rio+TOTTA-+PELICHEK+-+Sotero+COSME+-+Helios+SEELINGER+em+1925.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="618" data-original-width="862" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_199qHvV-FJeJeAjyJeyW1mis25MiDEnBgu2oRncWjLShrXorL4OgEecdDzLSgXAWHejbKQLpdhEpTbNnS88ZaOjXj_k-kw4ZGvS39hoq0Dly6hI6n8Rkzcv15HM5nj8SuWhRbRkuxsYa/w363-h256/01M%25C3%25A1rio+TOTTA-+PELICHEK+-+Sotero+COSME+-+Helios+SEELINGER+em+1925.jpg" width="363" /></a></div> <span face="Arial, sans-serif" style="color: #c00000;">Fig.
01 </span><b style="color: #c00000; font-family: Arial, sans-serif;">As figuras e as obras de Mário TOTTA,
de Francis PELICHEK, de Sotero COSME e
de Helios SEELINGER foram fundamentais para a INTERAÇAO, PERTENCIMENTO
e PROFISSIONALIZAÇÂO de ARTISTAS VISUAIS nos circuitos estaduais,
nacionais e internacionais</b><span face="Arial, sans-serif" style="color: #c00000;">. O encontro destes personagens deu suporte para
a entrada na DÈCADA de 1930. O quadro de Hélio SELINGER “O RIO GRANDE de PÈ
PERLO BRASIL” foi um dos lemas da Revolução de 1930</span><p></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span face=""Verdana",sans-serif" style="font-size: 14pt;"> </span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Black", sans-serif" style="font-size: 14pt;"> O PERTENCIMENTO dos
ARTISTAS VISUAIS SUL-RIO-GRANDENSES: <o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Black", sans-serif" style="font-size: 14pt;">EXPRESSÕES de AUTONOMIA dos <o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Black", sans-serif" style="font-size: 14pt;">ARTISTAS SUL-RIO-GRANDENSES na DÈCADA de 1930<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: center;"><span face=""Arial Black", sans-serif" style="font-size: 14pt;"> <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif">A </span><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">QUARTA DÉCADA do SÉCULO XX foi aberta,
no BRASIL, pela ruidosa, longamente preparada e vitoriosa REVOLUÇÃO de 03 a 24
de outubro de 1930<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">A VOZ FIRME,
CALCULADA e LONGANENTE PREPADADA de TASSO CORREIA reivindicou FRUTOS desta
REVOLUÇÂO nas ATES do RIO GRANDE do SUL,. Ele reivindicou, alto e bom som, o MANDO das AÇÕES dos ARTISTAS no seu CAMPO de
FORÇAS, a ADMINISTRAÇÃO . O discurso ressoou e repercutiu exatamente na data
doo terceiro aniversário da epopeia dos “GAÙCHOS AMARRAR os CAVALOS no OBELISCO
da REPOÚBLICA”, Tasso Correa desnudou enfático e direto, a situação de
submissão dos artistas no Rio Grande do Sul quando afirmou: <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 14.2pt;"><i><span face=""Verdana",sans-serif"> <b><span style="color: #073763; font-size: large;">Os professores,
aqueles que são os verdadeiros sustentáculos deste Instituto, pelo seu trabalho
profícuo e honesto - pouca gente sabe disto - não tem garantia de espécie
alguma dentro desta casa. Nós os professores, não temos a menor interferência,
nem na administração, nem na parte técnica. O Instituto de Belas Artes do Rio
Grande do Sul é uma instituição dirigida por médicos, advogados, engenheiros,
comerciantes, etc. Daí se verifica que o Instituto, sendo uma organização
destinada á difusão do ensino artístico no Rio
Grande do Sul, é orientado por cavalheiros de alta distinção, mas que
infelizmente, na sua grande maioria, nada entende de Arte. Para demonstrar o
absurdo da nossa organização administrativa lembraria o seguinte: uma Faculdade
de Medicina, dirigida por uma comissão de músicos, pintores e escultores...</span></b><o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;"> Esta voz fez-se ouvir em PLENO THEATRO SÂO
PREDRO LOTADO, diante da MESA da DIREÇAO da COMISSÂO CENTRAL.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">No entanto este
foi um evento e que encontrou grandes obstáculos a vencer. O primeiro foi a
expulsão sumária de Tasso Correa do INSTITUTO de BELAS ARTE e a posterior sua
recondução. Em 1936 ele assumiu a direção do IBA no contexto de uma improvisada
e fragilizada UNIVERSIDADE de PORTO
ALEGRE (UPA) com seis unidades doas quais uma dele era o IBA-RS. TASSO era
membro honorário da SOCIEDADE BELAS ARTES do RIO de JANEIRO<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">Neste ano houve a
tentativa da formação da ASSOCIAÇÃO RIOGRANDENSE de BELAS ARTES – ARBA .
Fernando CORONA registrou, no ano de 1936 do seu Diário, esta tentativa
onde consta, entre as páginas 262 e 263,
que: <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 6.0pt; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 6pt 14.2pt; text-align: justify;"><span face=""Verdana",sans-serif" style="font-size: 11pt; line-height: 150%; mso-bidi-font-size: 10.0pt;"> </span><i><span face=""Verdana",sans-serif"><span style="color: #073763; font-size: medium;">. Lá pelo mês de abril, não sei quem
teve a ideia, procurou reunir uns quantos amigos com a intensão de criar uma
agremiação de artistas para o amparo e divulgação das artes em geral. Reunidos
no Instituto de Belas Artes foi nomeada uma diretoria provisória que iria
iniciar um trabalho até então esquecido. Esta comissão estava assim
constituída: Olyntho San Martin, Ovidio Chaves, Walter Spalding, João
Schuwartz, Jose Lutzenberguer Olga Pereira, Tasso Corrêa, Francisco Bellanca.
Houve novas reuniões até que foi escolhida uma Comissão para redigir o
regulamento, que foi a seguinte: Comissão de Estatutos: Ângelo Guido, Francis
Pelichek, Antônio Carangi, Oscar Boeira, Francisco Bellanca, Olga Pereira,
Adoffo Fest, Ernani Corrêa, Monteiro Netto, e eu, Fernando Corona. Não foi
brilhante a atuação desta Associação. Parece que faltou um pouco de sacrifício
de seus componentes, e se mal não me lembro, não chegou a durar um ano. As
coisas de arte na nossa cidade nunca tiveram amparo oficial e os artistas,
muito individualistas, puxavam cada um para sua sardinha.</span><o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;">O que de fato deve ter pesado, nesta inércia coletiva,
foi reunir as LETRAS, MÚSICA, ARTES VISUAS, ARQUITETURA no mesmo projeto. Todas
estas expressões estéticas possuem o seu “MODUS VIVENDI” coletivo. As LETRAS
possuem um mercado na produção para
indústria cultural do múltiplo que são os LIVROS e os PERIÒDICOS impressos. O
MÚSICO possui na sua orquestra a sua socialização e pertencimento. Na
retaguarda do ARQUITETO encontra-se a INDÚSTRIA e o COMÉRCIO dos MATERAIS de
CONSTRUÇAO. Enquanto isto o ARTSITA VISUAL trabalha na solidão do seu ATELEIR
com raros momentos de interação social, e econômica<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="line-height: 150%;"><span style="font-size: 14pt;">Esta especificidade das ARTES VISUAI .foi corrigida pela
ASSOCIAÇÂÃO FANCISCO LISBOA renovada e atuante até os dias atuais Esta nasceu
em agosto de 1938 e foi a de maior continuidade</span><a href="file:///C:/Users/Cirio/Documents/06%20%20-%20ARTE%20blog/289%20-%20UM%20SECULO%20de%20ASSOCIA%C3%87%C3%94ES%20de%20ARTISTAS%20VISUAIS%202/01%20289%20%20-%20ARTISTAS%20de%201930%20at%C3%A9%201980.doc#_ftn1" name="_ftnref1" title=""><sup><span style="font-size: x-small;"><!--[if !supportFootnotes]--><sup><span>[1]</span></sup></span><!--[endif]--></sup></a><span style="font-size: 14pt;">. Na
política Carlos Scarinci percebeu
intenções coerentes com o ESTADO NOVO quando afirmou (1980, p.8, col.1) que “</span><i><span style="color: #073763; font-size: medium;">Os
objetivos da nova entidade não podem ser definidos como uma tomada de posição de classe, mas sua criação
coincide quase com a transformação da Associação Paulista de Belas Artes em
Sindicato dos artistas políticos(1937) que coincide também com as orientações sindicalistas do
Estado Novo recentemente implantado</span></i><o:p style="font-size: 14pt;"></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;">Na prática a razão dos seus integrantes era fazer do seu
ofício a sua união como trabalhadores especializados. Essa intenção Kern registrou (1981, ff. 112 e
113). <i>“<span style="color: #073763;">um grupo de jovens artistas: João
Faria Vianna, Carlos Scliar, Mário Mônaco, Edla Silva, Nelson Boeira Faedrich e
Gaston Hofstetter. Nesse mesmo ano ingressam Guido Mondin, João Fontana,
Arnildo Kuwe Kindler, João Fahrion. Judith Fortes, José Rasgado Filho, Gustav
Epstein, Mário Berhauser, Júlia Felizardo e Romano Reif. A Associação Francisco
Lisboa foi fundada com o objetivo de reunir os artistas que se encontram
isolados e que tem dificuldades para se fazer conhecer seus trabalhos</span></i>”. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;">Ao acompanhar a nominata dos seus fundadores constata-se
a presença significativa de integrantes do IBA-RS. Na lista acima verifica-se
que tod<b>as</b> <b><u>as</u></b> artist<b><u>as</u></b>
frequentaram a Escola de Artes do ILBA e ali concluíram o curso superior.
Assim, <b>Judite Fortes</b> o concluiu em 1922,
tendo ingressado em 1916. Exerceu o papel de professora substituta em várias
ocasiões e de membro das bancas de final de ano. Em dezembro de 1938 ela deve
ter enfrentado um sério problema profissional no IBA-RS, pois o seu nome foi
preterido na cadeira de Anatomia Artística face ao de Luiz Maristany de Trias<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 70.9pt;"><span face=""Arial Narrow",sans-serif"> </span></p>
<p class="MsoNormal"><b><span face=""Arial Narrow",sans-serif">KERN</span></b><span face=""Arial Narrow",sans-serif">, Maria Lúcia Bastos. «<b>Les origines de peinture ‘moderne’ au Rio
Grande do Sul – Brésil</b>» Paris : </span><span face=""Arial Narrow",sans-serif" lang="FR" style="mso-ansi-language: FR;">Université
de Paris I Panthéon Sorbone, 1981 tese 435 fl.</span><span face=""Arial Narrow",sans-serif"><o:p></o:p></span></p>
<p class="MsoNormal"><b><span face=""Arial Narrow",sans-serif" lang="FR" style="mso-ansi-language: FR;"> </span></b></p>
<p class="MsoNormal"><b><span face=""Arial Narrow",sans-serif"> SCARINCI</span></b><span face=""Arial Narrow",sans-serif">, Carlos. <b>A
gravura contemporânea no Rio Grande do Sul (1900-1980)</b>. Porto Alegre :
MARGS, <b><o:p></o:p></b></span></p>
<p class="MsoNormal"><span face=""Arial Narrow",sans-serif"> 1980 27 fl<o:p></o:p></span></p>
<p class="MsoNormal"><b><span face=""Arial Narrow",sans-serif">_________</span></b><span face=""Arial Narrow",sans-serif"> <b>A gravura no Rio Grande do Sul (1900-1982)</b>. Porto Alegre : Mercado Aberto, 1982, <o:p></o:p></span></p>
<p class="MsoNormal"><span face=""Arial Narrow",sans-serif"> </span><span face=""Arial Narrow",sans-serif" lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;">224 p.
il. Color.<o:p></o:p></span></p>
<p class="MsoNormal"><b><span face=""Arial Narrow",sans-serif">----------</span></b><span face=""Arial Narrow",sans-serif">«<b><i>Da Francisco Lisboa ao
Pseudo-Salão Moderno de 1942</i></b>» in Correio do Povo, <b>Caderno de Sábado</b>, Volume CVI, Ano VIII, <b> n<sup>o</sup> 606,</b>
08.03.1980, pp 8/9<o:p></o:p></span></p>
<p class="MsoNormal"><b><span face=""Arial Narrow",sans-serif"> </span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><b><span face=""Arial Narrow",sans-serif">A
UNIVERSIDADE BRASILEIRA e a ARTE </span></b><span face=""Arial Narrow",sans-serif" style="mso-fareast-language: ZH-CN;">no PENSAMENTO de TASSO BOLIVAR DIAS CORRÊA Blog Isto é Arte nº 165<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><b><span face=""Arial Narrow",sans-serif" style="mso-fareast-language: ZH-CN;"><a href="http://profciriosimon.blogspot.com.br/2016/04/165-o-pensamento-de-tasso-correa.html">http://profciriosimon.blogspot.com.br/2016/04/165-o-pensamento-de-tasso-correa.html</a><o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><b><span face=""Arial Narrow",sans-serif" style="mso-fareast-language: ZH-CN;"> </span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><b><span face=""Arial Narrow",sans-serif" style="mso-fareast-language: ZH-CN;">Imagem Reunião da CONGREGAÇAO do IBA-RS no dia
06.01.1939 – Foto Diário de Noticias dia
08.01.1939<o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><b><span face=""Arial Narrow",sans-serif" style="mso-fareast-language: ZH-CN;"> </span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><b><span face=""Arial Narrow",sans-serif" style="mso-fareast-language: ZH-CN;">FACE BOOK<o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><a href="https://www.facebook.com/photo?fbid=1011944542588031&set=gm.2705141686370685">https://www.facebook.com/photo?fbid=1011944542588031&set=gm.2705141686370685</a><b><span face=""Arial Narrow",sans-serif" style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></b></p>
<div><!--[if !supportFootnotes]--><br clear="all" />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<div id="ftn1">
<p class="MsoFootnoteText"><a href="file:///C:/Users/Cirio/Documents/06%20%20-%20ARTE%20blog/289%20-%20UM%20SECULO%20de%20ASSOCIA%C3%87%C3%94ES%20de%20ARTISTAS%20VISUAIS%202/01%20289%20%20-%20ARTISTAS%20de%201930%20at%C3%A9%201980.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt; mso-bidi-font-size: 10.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 8pt; mso-ansi-language: PT-BR; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: PT-BR;">[1]</span></span><!--[endif]--></span></span></a><span style="font-size: 8pt; mso-bidi-font-size: 10.0pt;"> - SCARINCI, Carlos «Da
Francisco Lisboa ao Pseudo-Salão Moderno de 1942» in Correio do Povo, <b>Caderno de Sábado</b>, Volume CVI, Ano
VIII, <b> n<sup>o</sup> 606,</b> 08.03.1980, pp 8/9.<o:p></o:p></span></p>
<p class="MsoFootnoteText"><span style="font-size: 8pt; mso-bidi-font-size: 10.0pt;"> </span></p>
</div>
</div><p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs7ENjIbcEZ2Z14uVlf17KOOogxapcAziLYudQKg1zj_FNA_BuYrF3i_QXk1OKWRVC-xdERh7tHMscyWPRfpBL8Jsii5Ps8D8dQRr6ivOjV2naZMZ7OtaYsmtpeGFeR3h61tjMArHxRgjW/s1406/02+-+AAPA+em+MINAS.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="641" data-original-width="1406" height="169" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs7ENjIbcEZ2Z14uVlf17KOOogxapcAziLYudQKg1zj_FNA_BuYrF3i_QXk1OKWRVC-xdERh7tHMscyWPRfpBL8Jsii5Ps8D8dQRr6ivOjV2naZMZ7OtaYsmtpeGFeR3h61tjMArHxRgjW/w348-h169/02+-+AAPA+em+MINAS.jpg" width="348" /></a></div><br /><div style="text-align: center;"><span style="color: #990000; font-family: arial;">Fig.<b> </b>02 <b>Os integrantes da ASSOCIAÇÂO ARAÚJO PORTO-ALEGRE (AAPA) em visita, no
verão de 194, às cidades históricas do estado de MINAS GERAIS</b>. A <b>AAPA</b>
vinha de uma temporada de trabalhos e exposições em SALVADOR, na BAHIA, Nas
Alterosas peregrinou de cidade em cidade sob o patrocínio do governador e, em
retribuição realizaram uma exposição, de suas obras sem Belo Horizonte. No
retorno, a Porto Alegre, mostraram o que haviam produzidos na sua viagem de
estudos e pesquisa</span></div><span style="color: #990000;"><o:p></o:p></span><p></p><p align="center" class="MsoNormal" style="text-align: center;"><span face="Verdana, sans-serif" style="color: #990000; font-size: 18pt;"> </span></p><p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Black", sans-serif" style="font-size: 14pt;">O PERTENCIMENTO dos ARTISTAS VISUAIS SUL-RIO-GRANDENSES: <o:p></o:p></span></p><p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Black", sans-serif" style="font-size: 14pt;">EXPRESSÕES de
AUTONOMIA dos <o:p></o:p></span></p><p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Black", sans-serif" style="font-size: 14pt;">ARTISTAS SUL-RIO-GRANDENSES na DÈCADA de 1940</span><span face=""Arial Black", sans-serif" style="font-size: 18pt;"><o:p></o:p></span></p><p align="center" class="MsoNormal" style="margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: center;"><span face=""Arial Black", sans-serif" style="font-size: 18pt;"> <o:p></o:p></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif">A </span><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;"> DÉCADA de 1940 até 1950 pode ser dividida, no
Brasil, em duas partes diametralmente opostos. Na primeira parte, de 1940 até
1945 os trágicos anos da II GUERRA MUNDIAL no plano externo. No plano interno
pleno curso dos PESADOS ANOS de CHUMBO do ESTADO NOVO. Na segunda parte, de
1945 até 1950, a euforia da VITÓRIA ALIADA, significou o fim da ditadura
Vargas, a veemente condenação de fachada do ESTADO TOTALITÁRIO e a aparente
retomada do REGIME DEMOCRÁTICO.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">No Rio Grande do
Sul deu margem para a DESFORRA pela queima da bandeira do Estado e a proibição
de qualquer símbolo regional. Isto significou o surgimento do REGIONALISMO requentado,
a busca das reconexões do poder civil com o BRASIL RENOVADO e a avalanche das
conexões internacionais incontroláveis para uma frágil e requentada identidade
de empréstimo.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">Nas ARTES VISUAIS
foi a abertura para torrentes das mais variadas e contraditórias estéticas do
mundo inteiro. Favorecido pelos meios de comunicação - cada vez mais intensos,
instantâneos e volumosos - o seu recurso foi apresentar e cultivar massivas
manifestações regionais sem grandes pesquisas estéticas. Isto significava jogar-se num frenético FAZER
por FAZER no torvelinho da INDUSTRIAL CULTURAL avassaladora de outros centros
culturais, bem equipados alimentado por massivos aportes financeiros<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">No contraditório,
da aparente liberdade individual, houve a criação, expansão e cultivo de
rígidos protocolos expressas em normas populistas de fácil leitura e
compreensão. Esta CONTRADIÇÃO gerava COMPLENTARIEDADES MASSIVAS expressas em
MITOS alimentados pela INDÚSTRIA CULTURAL, pelo RÀDIO, pelo CINEMA e pela volumosa
produção gráfica cada vez mais colorida e de parcas reflexões. Tudo destinado á
OBSOLESCÊNCIA IMEDIATA. Os grandes trustes da MÌDIA geravam ídolos, mitos e u
pensamento linear, unívoco e sem consequência no dia seguinte. <o:p></o:p></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 6.0pt; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 6pt 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;">Nos
limites também é necessário ressaltar que para as competências das associações,
dos clubes e dos núcleos de artistas sul-rio-grandenses pouco significa a sua
projeção ou exportação para culturas de outros estados e muito menos para fora
do país. O mesmo pode ser dito do inverso. As projeções, de fora para dentro,
de culturas, mesmo as hegemônicas são pouco proporcionais, correntes e fecundos
para as ASSOCIAÇÕES de ARTISTAS. Qualquer tentativa de ASSOCIAÇÃO é derrotada pelo dia seguinte no
qual a incerta origem dos seus fundamentos, contratos unilaterais e as frágil realizações tornam-se
descartáveis, desqualificadas e disfuncionais. Permanecem, e são cultuadas, as
vetustas matrizes incoerentes com a SOCIEDADE vigente e LUGAR PRESENTE<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 6.0pt; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 6pt 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;">. As
ruínas das missões jesuíticas talvez sejam uma das numerosas e melhores
ilustrações da inutilidade e frustração trazida por estes projetos exógenos,
implantados por um voluntarismo incoerente e a revela do Poder Originário
local. <o:p></o:p></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 6.0pt; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 6pt 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;">Para
as associações, grupos e núcleos de artistas visuais são tão danosos a
mitificação de uma autonomia caricata, como a sua naturalização primária pela
procrastinação da solução do problema da coerência entre competências e
limites. A autonomia, reduzida ao maniqueísmo entre os extremos da solidão e da
multidão, provoca a mesma esterilidade desde a origem de associações, de grupos
e de núcleos de artistas visuais. <o:p></o:p></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 6.0pt; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 6pt 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;">Existem
infinitas divisões no contínuo da prática da autonomia. A autonomia do artista não constitui a busca
do solipsismo, pelo que viu acima. De outra parte a autonomia - conceituada
como competências e limites – potencializa o contínuo da sua energia interna
que se expande nos limites de um grupo. A autonomia potencializa as suas
competências na medida em que elas são comuns para múltiplos agentes deste
grupo de dentro. Este “<b><i>ser comum</i></b>” também não significa
mesmice na arte. Ao contrário: “<i><b><span style="color: #073763;">o artista
produz para o seu concorrente</span></b></i>” na concepção de Pierre Bourdieu. Serve a
metáfora da torcida num jogo no qual o torcedor é alguém que gostaria de estar
em campo, jogando para o seu time.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 6.0pt; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 6pt 14.2pt; text-align: justify; text-indent: 78pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;">Nesta
tentativa de jogar no mesmo time, a ASSOCIAÇÃO ARAÚJO PORTO ALEGRE (AAPA) mostrava que nessa época a profissionalização em
arte era considerada como possível. A resolução do jovem Iberê Camargo,
concluinte do Curso Técnico de Arquitetura no IBA-RS, foi tomada, em 1941, ao
proclamar ‘<i>vencer ou morrer pela arte</i>’<a href="file:///C:/Users/Cirio/Documents/06%20%20-%20ARTE%20blog/289%20-%20UM%20SECULO%20de%20ASSOCIA%C3%87%C3%94ES%20de%20ARTISTAS%20VISUAIS%202/01%20289%20%20-%20ARTISTAS%20de%201930%20at%C3%A9%201980.doc#_ftn1" name="_ftnref1" title=""><sup><!--[if !supportFootnotes]--><sup><span style="font-size: 14pt;">[1]</span></sup><!--[endif]--></sup></a>.
Ele expressava o contexto de confrontos extremos de uma guerra real em
andamento. O indivíduo isolado deveria fazer opções reais e definitivas entre
forças antagônicas que se materializavam em figuras da fachada sorridentes, benevolentes e triunfantes. O
Estado totalitário apontava o rumo, onde ele incluía a arte. No Brasil, essa
política tomou o nome de Gustavo Capanema que na análise de Williams (2000:
251/69) acumulava simultaneamente as funções de administrador, de ideólogo e de
mecenas das artes. A reprodução da arte era possível, no rumo que o Estado
apontava.<o:p></o:p></span></p><p class="MsoFootnoteText" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;">A <b>Associação
Araújo Porto-Alegre</b> Associação Araújo Porto Alegre, após o ESTADO NOVO
intervencionista e na euforia da redemocratização, não esqueceu que “A LEI
PRECEDDE os FATOS”. Nesta euforia fez as tramitações legais dos seus estatutos,
publicação como o seu registro. A <b>Associação
Araújo Porto - Alegre</b> foi inscrita no Registro Civil de Pessoas Jurídicas
de Porto Alegre na folha 19 sob o número de ordem 900 no livro A número 3 no
Registro de Documentos com Protocolo 50022 no livro nº 4 em 02 de abril de 1948
com assinatura de Othelo Rosa . (Esta pesquisa deve-se Sérgio Sakikabara)<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;">Com este instrumento público e legal nas mãos, pleiteou ajuda oficial dos Estados do Rio
Grande do Sul, Bahia como de Minas
Gerais e que recebeu afetivamente. As suas visitas eram divulgadas em releases aos principais órgãos de imprensa
nos três estados visitado e onde trabalharam intensamente e produziram as suas
OBRAS, Na comprovação objetiva dos gastos do erário público preparava e
divulgava as exposições de obras produzidas na AAPA, tanto em SALVADSOR, BELO
HORIZONTE e PORTO ALEGRE. <o:p></o:p></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;"> No entanto </span><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;">a <b>Associação Araújo Porto-Alegre</b> também </span><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">estavam sob o império do GOSTO EFÊMERO, do DESIGN do descartável
que transforma a tudo e todos em KITSCH, ou “QUE NASCE CONSUMIDO” na concepção
de Umberto ECO. Na Filosofia, na época, fazia moda a tendência EXISTENCIALISTA.
Porto Alegre recebeu, no final, década a visita de Albert CAMUS. (Revista do
Globo ano XXI, nº 490, 03.09.1949 pp. 40-41) <o:p></o:p></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 6.0pt; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 6pt 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;">Ao
longo da quinta década do século XX surgiram outros grupamentos de artistas
plásticos no Rio Grande do Sul. Porém o seu registro e ações também não
prosperaram ou vieram ao conhecimento do grande público.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 6.0pt; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 6pt 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;">Uma
da derradeira manifestações públicas da <b>Associação
Araújo Porto-Alegre</b> ocorreu no
NORDESRA BRASILEIRO onde trabalharam coletivamente expuseram, no dia 21 de fevereiro
de 1952, em RECIFE<o:p></o:p></span></p><p align="center" class="MsoNormal" style="text-align: center;"><b><span face=""Arial Narrow",sans-serif">AUTONOMIA do
ARTISTA o seu PERTENCIMENTO.<o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Narrow",sans-serif"><a href="http://profciriosimon.blogspot.com.br/2013/05/004-expressoes-de-autonomia-na-arte.html">http://profciriosimon.blogspot.com.br/2013/05/004-expressoes-de-autonomia-na-arte.htm</a></span></p><p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Narrow",sans-serif">ASSOCIAÇÂO ARAUJO PORTO ALFRE
1947-1950AAPA<o:p></o:p></span></p><p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Narrow",sans-serif"><a href="http://profciriosimon.blogspot.com/2010/08/arte-em-porto-alegre-apos-1945-0801.html">http://profciriosimon.blogspot.com/2010/08/arte-em-porto-alegre-apos-1945-0801.html</a><o:p></o:p></span></p><p align="center" class="MsoNormal" style="text-align: center;"><b><span face=""Arial Narrow",sans-serif">ORIGEM e AÇÔES da ASSOCIAÇÂO
ARAÚJO PORTO -ALEGRE - AAPA<o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="text-align: center;"><b><span face=""Arial Narrow",sans-serif"><a href="http://profciriosimon.blogspot.com.br/2010/08/arte-em-porto-alegre-apos-1945-0801.html">http://profciriosimon.blogspot.com.br/2010/08/arte-em-porto-alegre-apos-1945-0801.html</a></span></b></p><p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Narrow", sans-serif">Albert CAMUS em Porto Alegre<o:p></o:p></span></p><p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Narrow",sans-serif"><a href="http://profciriosimon.blogspot.com/2010/01/camus-quando-o-intelctual-ainda-falava.html">http://profciriosimon.blogspot.com/2010/01/camus-quando-o-intelctual-ainda-falava.html</a></span></p><p align="center" class="MsoFootnoteText" style="text-align: center;"><span face=""Arial Narrow",sans-serif" style="font-size: 12pt;">Conferir «<b><i>Associação
Araújo Porto Alegre</i></b>» in Correio do Povo. <b>Caderno de Sábado</b>. Volume XCVI, ano VIII <b>n<sup>o</sup> 596</b>,
29.12.1979, pp. 8/10.</span><span style="font-size: 12pt;"> </span></p><p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Narrow", sans-serif">FACE BOOK<o:p></o:p></span></p><p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Narrow",sans-serif" style="font-size: 11pt; mso-bidi-font-size: 12.0pt;"><a href="https://www.facebook.com/photo?fbid=1012683775847441&set=gm.2705940266290827">https://www.facebook.com/photo?fbid=1012683775847441&set=gm.2705940266290827</a></span><span style="font-size: 11pt; mso-bidi-font-size: 12.0pt;"><o:p></o:p></span></p><p align="center" class="MsoNormal" style="text-align: center;">
</p><div><!--[if !supportFootnotes]--><br clear="all" />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<div id="ftn1">
<p class="MsoFootnoteText" style="margin-bottom: 6pt; text-align: justify;"><a href="file:///C:/Users/Cirio/Documents/06%20%20-%20ARTE%20blog/289%20-%20UM%20SECULO%20de%20ASSOCIA%C3%87%C3%94ES%20de%20ARTISTAS%20VISUAIS%202/01%20289%20%20-%20ARTISTAS%20de%201930%20at%C3%A9%201980.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt; mso-bidi-font-size: 10.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 8pt; mso-ansi-language: PT-BR; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: PT-BR;">[1]</span></span><!--[endif]--></span></span></a><span style="font-size: 8pt; mso-bidi-font-size: 10.0pt;"> - Depoimento informal ao
autor de Carlos Petrucci sobre o gesto do seu colega na Secretaria de Obras
Públicas do Estado. Petrucci foi enfático em relação a intensidade e a
veracidade da expressão “<i>vida ou morte”</i> que acompanhou a escolha pela arte realizada por Iberê
Camargo.<o:p></o:p></span></p>
</div>
</div><div class="separator" style="clear: both; text-align: center;">
<p align="center" class="MsoNormal"><img border="0" data-original-height="754" data-original-width="1163" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh08VXfTnSOhVIEdg5JZhCGVZD2JiZPUDEf33mx0Us0zQAnJh_5nNM8vr3YR78yRCZLy2pOY5Oe-fJ7F2Eyqz363Ve8Pi4I3QId2PhlVeKNHhgQiF0Ohgi6_DN4hS6nxCXHJbWec7Vm3bJK/w353-h232/03++-+GRUPO+de+BAG%25C3%2589+1990.jpg" width="353" /><a href="http://iberecamargo.org.br/exposicao/os-quatro-grupo-de-bage/"><br />http://iberecamargo.org.br/exposicao/os-quatro-grupo-de-bage/</a><span face="Verdana, sans-serif" style="font-size: 18pt;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial",sans-serif" style="color: #c00000; font-family: arial; mso-fareast-language: ZH-CN;">Fig.
03 <b>Glênio BIANQUETTI, Glauco Otávio de
CASTILHOS RODRIGUES, Carlos SCLIAR e
Danúbio VILAMIL GONÇALVES , - “GRUPO
dos QUATRO de BAGÈ” geram um identidade
a partir do TRABALHO em COMUM como ARTISTAS
VISUAIS. </b>Projetaram a sua obra aparti do interio do Rio Grande do Sul
ganharam a capital e intargiram intensamente co o cento do Brasil<b><o:p></o:p></b></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Black", sans-serif" style="font-family: arial; font-size: 14pt;"> </span></p>
<p align="center" class="MsoNormal"><span face=""Arial Black", sans-serif" style="font-size: 14pt;">O PERTENCIMENTO dos ARTISTAS VISUAIS SUL-RIO-GRANDENSES: <o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Black", sans-serif" style="font-size: 14pt;">EXPRESSÕES de AUTONOMIA dos <o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Black", sans-serif" style="font-size: 14pt;">ARTISTAS SUL-RIO-GRANDENSES na DÈCADA de 1950</span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 6.0pt; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 6pt 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif">A
SEXTA </span><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;"> DÉCADA, do século XX, permaneceu na memória
pela </span><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;">estrepitosa
derrota do BRASIL pelo URUGAI, no novo Maracanã. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 6.0pt; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 6pt 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;">A
sucessão dos anos de 1950 até 196o
oscilou entre o requentado retorno de Getúlio Vargas e o seu suicido. No
sentido contrário surgiu e a fulgurante figura do mineiro Juscelino KUBITSCHEK
que levou o BRASIL para o INTERIOR e para o OESTE. Esta marcha e euforia
significou a proliferação de CENTROS CULTURAIS, MUSEUS e de ASSOCIAÇÕES de
ARTISTAS e novas universidades. De outro as conexões entre eles tonaram-se cada
vez mais tênues representando uma verdadeira HISTORIA CULTURAL BRASILEIRA em
MIGALHAS.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 6.0pt; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 6pt 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;">O
clima da GUERRA FRIA - entre as duas potências nucleares hegemônicas e
antagônicas - foi, e continua sendo, energia ativa e
radioativa ativa do maniqueísmo e a
trituração da memória sul-rio-grandense em migalhas Qualquer tentativa estética
estava sujeita a ser triturada e, pelo maniqueísmo, levar nas costas o alfinete de ou CAPITALISTA ou alfinete do
COMUNISTA.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 6.0pt; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 6pt 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;">Assim
qualquer ASSOCIAÇÂO não escapava de um ou outro alfinete e sua respectiva
classificação em UM ou OUTRO dos dois QUADROS antagônicos.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 6.0pt; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 6pt 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;">Numa
visão panorâmica pode-se enumerar os primórdios da expansão dos movimentos dos
Centros de Tradições Gaúchas e que ganhou reforços nacionais com a realização
da III SEMANA NACIONAL do FOLCLORE em Porto Alegre nos quadros da recém UNESCO.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 6.0pt; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 6pt 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;"> O CLUBE de GRAVURA de PORTO ALEGRE apostou no
quadro da popularização da arte por meio de recursos da multiplicação de obras.
Nesta tentativa cruzou ,em diversas ocasiões, com a temática do Movimento
Tradicionalista Gaúcho. Deste ambiente destacou-se a ação e as obras dos 4
artistas visuais que se denominaram de
“GRUPO de BAGE” e interagiu com a cultura sul-rio-grandense e do Centro do
Brasil.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 6.0pt; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 6pt 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;">Na
origem da BIENAL de São Paulo um grupo de artistas sul-rio-grandenses foi
convidado pessoalmente, em 1950 por Cecilo MATARAZZO para integrarem nesta
amostra internacional da ARTE de 1951. Já no 4º Centenário de São Paulo de 1954
o Pavilhão do Rio Grande do sul não ostro uso o o Monumento doa Laçador, mas a
presença de figuras da tradição, da indústria e do comercio do Rio Grande do
Sul. Enquanto isto as CHURRASCARIAS tradicionais do Rio Grande do Sul ganhavam
o mundo e ainda no modelo e franquia gratuita da CHURRASCARIA de EXPOSIÇÃO
FARROUPILHA de 1935.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 6.0pt; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 6pt 14.2pt; text-align: justify; text-indent: 2cm;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;">Na
metade da década de 1950 os artistas visuais começaram a ter o abrigo, suporte
e estimulo do MUSEU de ARTE do RIO GRANDE do SUL. Este estímulo positivo era
por tempo indeterminado, coerente e plenamente justificável no âmbito do
PROJETO CIVILIZATÒIO COMPENSADOR da VIOLÊNCIA que ESTADO NECESSITA exercer por
delegação e contrato com os sues cidadãos <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 6.0pt; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 6pt 14.2pt; text-align: justify; text-indent: 2cm;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;">A
ASSOCIAÇÃO do EX-ALUNOS do IBA-RS criou, entre 1954 e 1955, a ‘<i>Sociedade de Amigos da Arte’</i>. a (SOCIBA).
Scarinci registra (1982: 106) a experiência da <i>Sociedade de Cultura do IBA
(SOCIBA),</i> constituída no aniversário do Instituto em 1953 que nos documentos do AGIA-UFRGS descobre-se como
uma interface entre a instituição e a sociedade civil, aos moldes de uma “<i>fundação</i>”. A SOCIBA foi desativada em 1958, dando lugar à ‘<i>Associação
Cultural dos Ex-Alunos do IBA-RS”</i>, que foi responsável pela experiência da
Escolinha de Artes do Instituto. Esta experiência trouxe ao Rio Grande do Sul
as experiências de AUGUSTO RODRIGUES implementada na educação no Rio de Janeiro
e inspirado nas experiências de Herbert READ das escolas de arte inglesas
oferecidas a crianças inglesas s ao longo da II GUERRA MUNDIAL<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 6.0pt; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 6pt 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;">.
Entre os estudantes de arte surgiu o Grupo BODE PRETO cm reiteradas e
agressivas investidas contra padrões estéticos arcaicos. Fernando Corona
analisou e publicou (1977, pp.85 e 91) duas crônicas sobre este movimento
estudantil. Renato Rosa realiza um proveitosa síntese (2000, pp.116 e 17) onde
regista origem, exposições e integrantes do Grupo<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 6.0pt; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 6pt 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;">No
final da década de 1950 a dinâmica administração (1959-1962) de Leonel BRIZOLA
povoou o interior do Rio Grande do Sul com as BRIZOLETAS e, em PORTO
ALEGRE, efêmero “MATA BORRÃO” que
acolheu e propagou diversas
iniciativas deste governo e exposições de ARTISTAS VISUAIS. Enquanto isto BRASILIA
estava chamando a atenção e levando levas de sul-rio-grandenses par o PLANALTO
CENTRAL do BRASIL e continua na marcha para o OESTE e INTERIOR BRASILEIRO.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 6.0pt; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 6pt 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;">Nas
ARTES VISUAIS do Rio Grande do Sul não é possível passar ao largo, sem ao mesmo
mencionar o I SALÂO PANAMERICANO de ARTE e a realização do I CONRESSO
BRASILEURO de ARTE promovidos e simultâneos à ocasião da passagem do
Cinquentenário do IBA-RS no dia 22 de abril de 1958. Ambos visavam congregar os
artistas e avançar na direção de um MINISTÉRIO das ARTES e criação da
UNIVERSIUDADE das ARTES. Ambas foram consideradas temporãs e não aceitas pelo
Congresso sob o argumento da potencial burocratização.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 6.0pt; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 6pt 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;">Evidente
que esta simples enumeração necessita ainda muitas pesquisas, documentação
ensaios e divulgações.<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 150%; margin-bottom: 6pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;">FONTES<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 21.3pt; text-indent: -21.3pt;"><b><span face=""Arial",sans-serif">CORONA</span></b><span face=""Arial",sans-serif">, Fernando (1895-1979).«</span><b><span face=""Arial",sans-serif" style="mso-bidi-font-family: "Times New Roman";">.</span></b><span face=""Arial",sans-serif" style="mso-bidi-font-family: "Times New Roman";"> <b>Caminhada nas Artes (1940-1979)</b>. Porto
Alegre : UFRGS/ IEL/ DAC/ SEC 1977, 243</span></p>
<p class="MsoNormal" style="margin-left: 14.2pt; text-indent: -14.2pt;"><b><span face=""Arial",sans-serif" style="mso-bidi-font-family: "Times New Roman";">ROSA</span></b><span face=""Arial",sans-serif" style="mso-bidi-font-family: "Times New Roman";">, Renato et<b>
PRESSER</b>, Décio<b> .Dicionário
das Artes Plásticas no Rio Grande do Sul. (2ª ed r) </b>Porto Alegre : UFRGS,
2000, 527 p. ISBN 85-7025-522-</span></p>
<p class="MsoNormal" style="margin-left: 14.2pt; text-indent: -21.3pt;"><span face=""Verdana",sans-serif"> </span><b><span face=""Arial",sans-serif" style="mso-bidi-font-family: "Times New Roman";">SCARINCI</span></b><span face=""Arial",sans-serif" style="mso-bidi-font-family: "Times New Roman";">,
Carlos. <b>A gravura no Rio Grande do Sul
(1900-1982)</b>. Porto Alegre : Mercado
Aberto, 1982, </span><span face=""Arial",sans-serif" lang="ES-TRAD" style="mso-ansi-language: ES-TRAD; mso-bidi-font-family: "Times New Roman";">224 p. il.
Color<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 6.0pt; margin-left: 14.2pt; margin-right: 0cm; margin-top: 0cm; margin: 0cm 0cm 6pt 14.2pt; text-align: justify; text-indent: -21.3pt;"><span face=""Verdana",sans-serif"> </span></p>
<p align="center" class="MsoNormal" style="margin: 0cm 0cm 6pt 14.2pt; text-indent: -21.3pt;"><span face=""Arial Narrow",sans-serif">III SEMANA NACIONAL do FOLCLORE
em Porto Alegre<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin: 0cm 0cm 6pt 14.2pt; text-indent: -21.3pt;"><a href="http://memoria.bn.br/DocReader/Hotpage/HotpageBN.aspx?bib=114774&pagfis=2373&url=http://memoria.bn.br/docreader">http://memoria.bn.br/DocReader/Hotpage/HotpageBN.aspx?bib=114774&pagfis=2373&url=http://memoria.bn.br/docreader#</a><span face=""Arial Narrow",sans-serif"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin: 0cm 0cm 6pt 14.2pt; text-indent: -21.3pt;"><a href="https://www.traca.com.br/livro/43367/iii-semana-nacional-de-folclore">https://www.traca.com.br/livro/43367/iii-semana-nacional-de-folclore</a><o:p></o:p></p>
<p align="center" class="MsoNormal" style="line-height: 150%; margin: 0cm 0cm 6pt 14.2pt; text-indent: -21.3pt;"><span face=""Arial Narrow",sans-serif"> </span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif" style="font-size: 14pt;">SOCIBA<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><a href="http://profciriosimon.blogspot.com/2013/05/004-expressoes-de-autonomia-na-arte.html">http://profciriosimon.blogspot.com/2013/05/004-expressoes-de-autonomia-na-arte.html</a><o:p></o:p></p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-size: 8pt; mso-bidi-font-size: 12.0pt;">- FONTE </span><span face=""Arial Narrow",sans-serif">Atas da SOCIBA Sociedade de
Cultura do Instituto de Belas Artes
(22/04/1953 – 1958)<b><span style="color: magenta;"> </span></b> SOCIBA:
Programas e estatutos - 1953 – 1958 –
Arquivo IA-UFRSG<o:p></o:p></span></p>
<p class="MsoNormal" style="text-align: justify;"><span face=""Arial Narrow",sans-serif"> </span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif" style="font-size: 14pt;">Escolinha de
Artes e Iara Rodrigues<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif"><a href="https://bdtd.ibict.br/vufind/Record/URGS_c83e5b7413f333f953b0830272e28224">https://bdtd.ibict.br/vufind/Record/URGS_c83e5b7413f333f953b0830272e28224</a></span><span face=""Arial Narrow",sans-serif" style="font-size: 14pt;"><o:p></o:p></span></p>
<p class="MsoFootnoteText"><span face=""Arial Narrow",sans-serif" style="font-size: 12pt;">-
Fonte Entrevista informal com o autor, em 17.12. 2001, com Iara de Mattos
Rodrigues que estagiou na Escolinha de Artes do Rio de Janeiro de Augusto
Rodrigues, financiada pela Associação de Ex Alunos do IBA-RS. Além dos diversos
textos pedagógicos produzidos por Iara
Mattos Rodrigues, para conhecer os vínculos institucionais da Escolinha de
Arte, mantida pela Associação Cultural dos Ex-Alunos do Instituto de Artes da
UFRGS, pode-se compulsar o processo
dirigido ao Reitor Tuiskon Dick e que recebeu o n.<sup>o</sup>
23078.028061/91-44 no Protocolo Geral da UFRGS no dia 24.06.1991 as 11h24min.<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif">GRUPO PODE PRETO e WALDENY ELIAS<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><a href="https://estado.rs.gov.br/obra-do-pintor-waldeny-elias-esta-no-centro-cultural-erico-verissimo">https://estado.rs.gov.br/obra-do-pintor-waldeny-elias-esta-no-centro-cultural-erico-verissimo</a><span face=""Arial Narrow",sans-serif"><o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif">e Leo EDEXHEIMER<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><a href="http://www.margs.rs.gov.br/midia/anotacoes-a-margem-de-uma-obra-leo-dexheimer/">http://www.margs.rs.gov.br/midia/anotacoes-a-margem-de-uma-obra-leo-dexheimer/</a><o:p></o:p></p>
<p align="center" class="MsoNormal"><o:p> </o:p></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif">O GRUPO de BAGÉ<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif"><a href="https://pt.wikipedia.org/wiki/Grupo_de_Bag%C3%A9">https://pt.wikipedia.org/wiki/Grupo_de_Bag%C3%A9</a><o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif">+<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: Verdana; mso-fareast-language: ZH-CN;"><a href="http://profciriosimon.blogspot.com.br/2015_03_01_archive.html">http://profciriosimon.blogspot.com.br/2015_03_01_archive.html</a><o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: Arial; mso-fareast-language: ZH-CN;">+<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: Arial; mso-fareast-language: ZH-CN;"><a href="http://profciriosimon.blogspot.com.br/2015/03/estudos-de-arte-010.html">http://profciriosimon.blogspot.com.br/2015/03/estudos-de-arte-010.html</a><o:p></o:p></span></p>
<p align="center" class="MsoNormal"><o:p> </o:p></p>
<p align="center" class="MsoNormal"><span face=""Verdana",sans-serif" style="font-size: 14pt;">I SALÃO PANAMERICANO
de ARTE<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><a href="http://enciclopedia.itaucultural.org.br/evento81112/1o-salao-pan-americano-de-arte">http://enciclopedia.itaucultural.org.br/evento81112/1o-salao-pan-americano-de-arte</a><span face=""Verdana",sans-serif" style="font-size: 14pt;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Verdana",sans-serif" style="font-size: 14pt;">Catálogo </span><a href="https://www.traca.com.br/livro/163364/">https://www.traca.com.br/livro/163364/</a><o:p></o:p></p>
<p align="center" class="MsoNormal">I CONGRESSO BRASILEIRO
de ARTE<o:p></o:p></p>
<p align="center" class="MsoNormal"><a href="http://profciriosimon.blogspot.com/2010/04/um-salao-de-festas-das-artes-03.html">http://profciriosimon.blogspot.com/2010/04/um-salao-de-festas-das-artes-03.html</a><o:p></o:p></p>
<p align="center" class="MsoNormal">Boletim informativo<o:p></o:p></p>
<p align="center" class="MsoNormal"><a href="https://www.budanoleiloeiro.com.br/peca.asp?ID=2543826">https://www.budanoleiloeiro.com.br/peca.asp?ID=2543826</a><o:p></o:p></p>
<p align="center" class="MsoNormal">Relatório<o:p></o:p></p>
<p align="center" class="MsoNormal"><a href="https://books.google.com.br/books/about/1o_Congresso_Brasileiro_de_Arte.html?id=xw7ntAEACAAJ&hl=en&output=html_text&redir_esc=y">https://books.google.com.br/books/about/1o_Congresso_Brasileiro_de_Arte.html?id=xw7ntAEACAAJ&hl=en&output=html_text&redir_esc=y</a><span face=""Verdana",sans-serif" style="font-size: 14pt;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif"> </span></p>
<p align="center" class="MsoNormal"><span face=""Verdana",sans-serif" style="font-size: 14pt;">Administração de
Leonel BRIZOLA do RS<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><a href="http://repositorio.pucrs.br/dspace/handle/10923/3756">http://repositorio.pucrs.br/dspace/handle/10923/3756</a><o:p></o:p></p>
<p align="center" class="MsoNormal">MATA BORRÂO<o:p></o:p></p>
<p align="center" class="MsoNormal"><a href="https://www.webpoa.com/memoria/o-mata-borrao/">https://www.webpoa.com/memoria/o-mata-borrao/</a><o:p></o:p></p>
<p align="center" class="MsoNormal"><o:p> </o:p></p>
<p align="center" class="MsoNormal">ASSOCIAÇÂO FRANCISCO
LISBOA presente no dia 24 de agosto de 1954 sem nada a ver com o CAOS<o:p></o:p></p>
<p align="center" class="MsoNormal"><a href="https://historiahoje.com/getulio-vargas-da-crise-ao-suicidio/">https://historiahoje.com/getulio-vargas-da-crise-ao-suicidio/</a><o:p></o:p></p>
<p align="center" class="MsoNormal"><br /></p>
<p align="center" class="MsoNormal">FACE BOOK<o:p></o:p></p>
<p align="center" class="MsoNormal"><a href="https://www.facebook.com/photo?fbid=1013536732428812&set=gm.2706896229528564">https://www.facebook.com/photo?fbid=1013536732428812&set=gm.2706896229528564</a><o:p></o:p></p></div><p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><b><span face=""Arial Narrow",sans-serif" style="font-size: 8pt; mso-bidi-font-family: Verdana; mso-fareast-language: ZH-CN;"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT4-DBEMhGh5iDhCENcTnWK1PpyKRDLH0Wi1N9ylpchx_hLS492MDLNTPMCdSQDj8oUe8VSuPinfrggrilZethr0iE9ofIykBoj-MXYYhuC74o37CHOx68FQxWGoUITX0Wr90zJkuew_ZU/s1452/04+-+ATELIER+LIVRE+da+PREFEITURA+de+PORTO+ALEGRE+com+IBER%25C3%258A.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="990" data-original-width="1452" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT4-DBEMhGh5iDhCENcTnWK1PpyKRDLH0Wi1N9ylpchx_hLS492MDLNTPMCdSQDj8oUe8VSuPinfrggrilZethr0iE9ofIykBoj-MXYYhuC74o37CHOx68FQxWGoUITX0Wr90zJkuew_ZU/w320-h209/04+-+ATELIER+LIVRE+da+PREFEITURA+de+PORTO+ALEGRE+com+IBER%25C3%258A.jpg" width="320" /></a></b></div><p></p><div class="separator" style="clear: both; text-align: center;">
<p align="center" class="MsoNormal"><span face=""Arial",sans-serif" style="color: #c00000; font-family: arial; mso-fareast-language: ZH-CN;">Fig.
04 <b>As periódicas vindas a Porto Alegre
de Iberê Camargo eram oportunidades para se cercar de gente que gostava de praticar
ARTE em grupos</b>. No início de ano, de 1960, Iberê foi cercado por um grupo
de jovens artistas visuais e que passaram a amiudar os seus encontros até
desencadearem o processo da formação institucional do ATELIER LIVRE da PREFEITURA
de PORTO ALEGRE <o:p></o:p></span></p><div class="separator" style="clear: both;">
<p align="center" class="MsoNormal"><br /></p>
<p align="center" class="MsoNormal"><span face=""Arial Black", sans-serif">O PERTENCIMENTO dos ARTISTAS VISUAIS SUL-RIO-GRANDENSES: <o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Black", sans-serif">EXPRESSÕES de AUTONOMIA dos <o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Black", sans-serif">ARTISTAS SUL-RIO-GRANDENSES na DÉCADA de 1960<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin: 0cm 7.1pt 0.0001pt 14.2pt;"><span face=""Arial Black", sans-serif" style="font-size: 18pt;"> <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif">A </span><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;"> DÉCADA, de 1960 iniciou sob a intensa
expectativa de mudanças e da esperança da NOVA CAPITAL BRASILIA. TERMINOU com
retrocesso para uma feroz ditadura monocrática e autoritária expressa pelo AI 05 de dezembro de 1968,Esta
sepultava de vez as breves conquistas democráticas<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">A RENÙNCIA de
Jânio QUADROS, a LEGALIDADE, sucedido por um breve período PARLAMENTARISTA
seguido polo GOLPE de 1º de abril de 1964. Esta entrada intervencionista
militar deixou pouco espaço para os ARTISTAS VISUAIS CRIAREM ASSOCIAÇÔES
DURÁVEIS ou ter autonomia e criatividade nos ANOS DE CHUMBO. Foi lhes
oferecida a alternativa maniqueísta
e fulminante de “AME-O ou DEIXE-O”.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">Assim qualquer
organização civil, da época, caiu sob suspeita ou foi infiltrada por
informantes da própria organização cooptados ou coagidos a delatar, denunciar e
concorrer aos cargos centrais de comando desta agrupamentos.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">No contraditório
este período autoritário e monocrático, serviu para sacudir e provar aqueles de
fato são convictos das ARTES e com projetos coerentes e seguros, Ocorreu algo
semelhante com a da REPÚBLICA de VICHI que foi um filtro entre os confiados em
quimeras e aqueles que ainda tinha capacidade de distinção e algum reação ao
algoz.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;"> O ATELIER LIVRE da PREFEITURA de Porto Alegre
constituído na entrada da década de
1960 foi
dos centros que teve esta capacidades de distinguir quimeras de competências
possíveis. Provou isto nas ARTES VISUAIS
nas piores privações e. de atividades
A inciativa teve uma fase de implementação nos cursos livres que Iberê
CAMARGO ministrou nas dependências do Theatro São Pedro. As suas sucessivas
migrações e levaram ao ABRGO dos BONDES da Praça XV, aos altos do MERCADO PÚBLICO,
para a Rua Lobo da CISTA nº 291 e finalmente pra a sua casa própria no CENTRO
MUNICIPAL de CULTURA Ali se cultivaram traços de resistência com projetos
coerentes com a sociedade, tempo e lugar.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">O quadro do ANOS
de CHUMBO não foi revertido e levado a bom termo, certamente, pela longa e
injusta lista dos expurgados e o perseguidos. Estes tornaram-se MITOS e HEROIS.
A tarefa objetiva, desta reversão, coube aqueles que resistiram silenciosos,
eficazes e competentes para entender, querer e sentir-se interagindo com o
PODER ORIGINÁRIO da ARTE e da CULTYRA. Competentes para lidar tanto com as
MULTIDÕES como com a sua produção como ARTISTAS PESQUISADORES da ARTES VISUAIS.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">Evidente que houve
lugares, como Salvador, onde foi fechada a II BIENAL da BAHIA, em 13 de
dezembro de 1968, dia de decretação do AI-5 e os músicos passaram a ser censurados, presos e exilados<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow", sans-serif" style="font-size: 14pt;">II BIENAL da BAHIA<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif"><a href="https://atarde.uol.com.br/cultura/noticias/50-anos-do-golpe-2a-bienal-da-bahia-foi-fechada-157688">https://atarde.uol.com.br/cultura/noticias/50-anos-do-golpe-2a-bienal-da-bahia-foi-fechada-157688</a><o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif">+<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><a href="https://pt.wikipedia.org/wiki/Bienal_da_Bahia">https://pt.wikipedia.org/wiki/Bienal_da_Bahia</a><o:p></o:p></p>
<p align="center" class="MsoNormal" style="line-height: 150%;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;"> </span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow", sans-serif" style="font-size: 14pt;">INQUÉRITO de CAETANO VELOSO<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><a href="https://brasil.elpais.com/cultura/2020-09-14/a-ditadura-brasileira-contra-caetano-veloso-os-arquivos-completos-da-repressao.html" target="_blank"><span face=""Arial",sans-serif" style="background: white; color: #1155cc;">https://brasil.elpais.com/cultura/2020-09-14/a-ditadura-brasileira-contra-caetano-veloso-os-arquivos-completos-da-repressao.html</span></a><span face=""Arial Narrow", sans-serif" style="font-size: 14pt;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow", sans-serif" style="font-size: 14pt;"> </span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow", sans-serif" style="font-size: 14pt;">ATELIER LIVRE da PREFEITURA de PORTO ALEGRE<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif"><a href="http://profciriosimon.blogspot.com/2018/11/253-estudos-de-arte_4.html">http://profciriosimon.blogspot.com/2018/11/253-estudos-de-arte_4.html</a><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 150%; margin: 0cm 7.1pt 0.0001pt 14.2pt; text-indent: 49.65pt;"><span face="Verdana, sans-serif">Apresentado ao GRUPO de PESQUISA da
AAMARGS, no dia 01 de novembro de 2018, por Rosemari Sarmento<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin: 0cm 7.1pt 0.0001pt 14.2pt; text-indent: -14.2pt;"><span face="Verdana, sans-serif" style="font-size: 11pt;">FACE
BOOK<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin: 0cm 7.1pt 0.0001pt 14.2pt; text-indent: -7.1pt;"><span style="font-size: 11pt; mso-bidi-font-size: 12.0pt;"><a href="https://www.facebook.com/photo?fbid=1014396215676197&set=gm.2707767509441436">https://www.facebook.com/photo?fbid=1014396215676197&set=gm.2707767509441436</a></span><span face="Verdana, sans-serif"><o:p></o:p></span></p><p align="center" class="MsoNormal" style="margin: 0cm 7.1pt 0.0001pt 14.2pt; text-indent: -7.1pt;"><br /></p></div><p align="center" class="MsoNormal" style="margin: 0cm 21.3pt 0.0001pt 14.2pt; text-indent: 7.1pt;"><span face=""Arial",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo9gh6iQ8YdwB2GKOY9uBEW-6yPMqe1oLx3VDkC-cXagJVrtEmLzSy72cy9Lph5wcufIOSxbrMFYLXMGVYGGh06sMmP6Gkz0NMdI7boFeyEpvnd_2m0TP68UXZn4LRckzAwEVLwovx5VR2/s1256/05+-++SUL-RIO-+GRANDENSES+exp%25C3%25B5e+em+BRAS%25C3%258DLIAMANCHETE+n.966+de+24.10.1970+p.+148++d.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="837" data-original-width="1256" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo9gh6iQ8YdwB2GKOY9uBEW-6yPMqe1oLx3VDkC-cXagJVrtEmLzSy72cy9Lph5wcufIOSxbrMFYLXMGVYGGh06sMmP6Gkz0NMdI7boFeyEpvnd_2m0TP68UXZn4LRckzAwEVLwovx5VR2/w365-h245/05+-++SUL-RIO-+GRANDENSES+exp%25C3%25B5e+em+BRAS%25C3%258DLIAMANCHETE+n.966+de+24.10.1970+p.+148++d.jpg" width="365" /></a></div><p></p><p align="center" class="MsoNormal"><b><span face=""Arial Narrow",sans-serif" style="font-size: 8pt; mso-bidi-font-family: Verdana; mso-fareast-language: ZH-CN;">ARTISTAS PLÁSTICOS – R Revista -
MANCHETE - nº 966 de 24.10.1970 - p. 148</span></b><span face=""Arial Narrow",sans-serif" style="color: #c00000;">.</span><span face=""Verdana",sans-serif" style="mso-bidi-font-family: Verdana; mso-fareast-language: ZH-CN;"> </span><b><span face=""Arial Narrow",sans-serif" style="font-size: 8pt; mso-bidi-font-family: Verdana; mso-fareast-language: ZH-CN;"><o:p></o:p></span></b></p><p align="center" class="MsoNormal" style="margin: 0cm 21.3pt 0.0001pt 14.2pt; text-indent: 7.1pt;"><span face=""Arial",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;">Fig. 05 <b>A</b></span><b><span face=""Arial",sans-serif" style="color: #c00000;">s manifestações artísticas
da década de 1970 mostram a</span></b><b><span face=""Arial",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;">
problemática </span></b><b><span face=""Arial",sans-serif" style="color: #c00000;">dos “<i>anos de chumbo</i>” do Regime Militar que não interveio diretamente no
campo estético na medida em que estre se abstinha de qualquer questão
concernente ao poder do Estado Brasileiro. </span></b><span face=""Arial",sans-serif" style="color: #c00000;">De outra parte demonstra a pouca consistência
deste regime em simplesmente “TOLERAR” as manifestações estéticas das quais não
tinham a menor competência, entendimento e vontade de interagir. Para o artista
foi a condenação à sua “<i>AUTONOMIA de
FEVELA</i>” na qual sempre viveu no Brasil</span><span face=""Arial",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;">. Como nos demais movimentos desta
época pouco registro dos resultados permanentes para a sociedade e cultura
brasileira e muito menos parar os artistas, <o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin: 0cm 7.1pt 0.0001pt 14.2pt; text-indent: 7.1pt;"><b><span face="Verdana, sans-serif"> </span></b></p>
<p align="center" class="MsoNormal"><span face=""Arial Black", sans-serif" style="font-size: 14pt;">O PERTENCIMENTO dos ARTISTAS VISUAIS SUL-RIO-GRANDENSES: <o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Black", sans-serif" style="font-size: 14pt;">EXPRESSÕES de AUTONOMIA dos <o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Black", sans-serif" style="font-size: 14pt;">ARTISTAS SUL-RIO-GRANDENSES na DÉCADA de 1970<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 21.3pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 21.3pt;"><span face=""Arial Black", sans-serif" style="font-size: 18pt;"> </span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 21.3pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 21.3pt; text-align: justify; text-indent: 78pt;"><span face="Verdana, sans-serif">A </span><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;"> OITAVA DÉCADA do SECULO XX passou-se
mergulhada nos ANOS de CHUMBO e que se derreteram a partir de 1979, com a frágil
e confusa ABERTURA POLITICA <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 21.3pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 21.3pt; text-align: justify; text-indent: 78pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">Graças aos ANOS de
CHUMBO esta década assistiu a um expressivo número de FUNDAÇÕES de UNIVERSIDES,
de INSTUTOS e de CURSOS TOCADOS pelo FORMALISMO LEGALISTA e ECLETISMO. Contava
a QUANDIDADE e onde a QUALIDADE era encoberta pelo FORMALISMO BUROCRÁTICO.
Bastava preencher rígidos protocolos controlados pelo PODER CENTRAL BUROCRATICO
e LEGALISTA<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 21.3pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 21.3pt; text-align: justify; text-indent: 78pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">Uma amostra desse
FORMALISMO BUROCRÁTICO são os CENTROS, INSTITUTOS e CURSOS XIPÓFAGOS. Nelas a
ARTES VUSUAIS não AUTONOMIA, IDENTIDADE e é INVADIDO por disciplinas e
conteúdos que pouco ter a ver com a FORMAÇÂO e o EXERCICIO de uma PESQUISA
ESTÈTICA coerente com seu TEMPO e a sua SOCIEDADE LOCAL<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 21.3pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 21.3pt; text-align: justify; text-indent: 78pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">Para encontrar
alguma vida é necessário procura-la fora dos quadros oficiais que passaram a
década de 1970 sob a sina do intervencionismo dos aparelhos repressivo do
ESTADO NACIONAL dominado pela militarização da vida civil. Esta MILITARIZAÇÃO
reduziu as instituições, que de uma outra forma estavam a seu alcance, em mero
reprodutores burocráticos.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 21.3pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 21.3pt; text-align: justify; text-indent: 78pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">Uma delegação de
artistas visuais sul-rio-grandenses foi um divisor de águas entre duas correntes
que se formaram logo no início da década de 1970. Alguns transformaram o TABU do
ESTADO TOTALITÁRIO da REPRESSÃO em TOTEM. Estes
aceitaram o convite para irem expor no núcleo do poder central. Na
corrente contrária outros se recusaram terminantemente integrar este contorno.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 21.3pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 21.3pt; text-align: justify; text-indent: 78pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">Fora do alcance
destes dos aparelhos repressivo do ESTADO NACIONAL a vida continuou de diversas
formas. Nas ARTES VISUAIS. Uma delas foi o surgimento de GALERIAS de ARTE como
desde 1971 a ESPHERA GALERIA de ARTE ou a DELHOS GALERIA de ARTE desde 1974 e
uma série de outras inciativas dicionarizadas em Renato ROSA e descritas por
Maria Helena WEBSTER ao registrar a sua experiência adquirida e divulgada na
GALERIA CAMBONA que continuou por meio da GALERIA GESTUAL . Com
aparentes objetivos comerciais foram celebradas feiras livres como o
BRIQUE da REDENÇÂO. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 21.3pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 21.3pt; text-align: justify; text-indent: 78pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">Na questão da
formação de um de ACERVOS particulares e nos LEILÔES de ARTE firmou-se um
publico fiel<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 21.3pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 21.3pt; text-align: justify; text-indent: 78pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">A educação
estética - de um novo público - procurou formas extra oficiais como ESCOLINHAS de ARTE. Houve também o
deslocamento para o interior em e eventuais agrupamentos como a “CASA VELHA:
CONVÍVIO” de HAMBURGO VELHO desde 10 de abril de 1977.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 21.3pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 21.3pt; text-align: justify; text-indent: 78pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">Na capital o
ESPAÇO N.O. esteve ativo de 1979 até 1982 sob a liderança de Vera CHAVES
BARCELLOS<o:p></o:p></span></p>
<p class="MsoNormal"><b><span face=""Arial",sans-serif" style="font-size: 9pt;"> </span></b></p>
<p class="MsoNormal" style="margin-left: 14.2pt; text-indent: -14.2pt;"><b><span face=""Arial",sans-serif" style="font-size: 9pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">ROSA</span></b><span face=""Arial",sans-serif" style="font-size: 9pt; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;">, Renato et<b> PRESSER</b>, Décio<b> .Dicionário das Artes Plásticas no Rio
Grande do Sul. (2ª ed r) </b>Porto Alegre : UFRGS, 2000, 527 p. ISBN
85-7025-522-5<o:p></o:p></span></p>
<p class="MsoNormal"><b><span face=""Arial",sans-serif" style="font-size: 9pt;">WEBSTER</span></b><span face=""Arial",sans-serif" style="font-size: 9pt;">, Maria Helena et alii. <b>Do passado ao presente</b>.: as artes
plásticas no Rio Grande do Sul . Porto <o:p></o:p></span></p>
<p class="MsoNormal"><span face=""Arial",sans-serif" style="font-size: 9pt;"> Alegre : Cambona s/d. 83 p.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;"> </span></p>
<p align="center" class="MsoNormal" style="line-height: 115%;"><span face=""Arial Narrow", sans-serif">BRIQUE da REDENÇAO nas ARTES PLÁSTICAS<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%;"><a href="https://briquedaredencao.com.br/artes-plasticas/">https://briquedaredencao.com.br/artes-plasticas/</a><o:p></o:p></p>
<p align="center" class="MsoNormal" style="line-height: 115%;"><o:p> </o:p></p>
<p align="center" class="MsoNormal" style="line-height: 115%;">CASA
VELHA CONVÍVIO NOVO HAMBURGO<o:p></o:p></p>
<p align="center" class="MsoNormal" style="line-height: 115%;"><a href="https://www.jornalnh.com.br/2017/07/entretenimento/2148391-exposicao-casa-velha-40-anos-recebe-novos-artistas-no-espaco-cultural-albano-hartz.html">https://www.jornalnh.com.br/2017/07/entretenimento/2148391-exposicao-casa-velha-40-anos-recebe-novos-artistas-no-espaco-cultural-albano-hartz.html</a><o:p></o:p></p>
<p align="center" class="MsoNormal" style="line-height: 115%;"><span face=""Arial Narrow", sans-serif"> </span></p>
<p align="center" class="MsoNormal"><span face="Verdana, sans-serif">ESPAÇO
N.O. 1979-1982<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><a href="https://pt.wikipedia.org/wiki/Espa%C3%A7o_N.O.">https://pt.wikipedia.org/wiki/Espa%C3%A7o_N.O.</a><o:p></o:p></p>
<p align="center" class="MsoNormal"><o:p> </o:p></p>
<p align="center" class="MsoNormal">ESPHERA GALERIA de
ARTE desde 1971<o:p></o:p></p>
<p align="center" class="MsoNormal"><a href="http://enciclopedia.itaucultural.org.br/evento356753/esphera-galeria-de-arte-exposicao-inaugural-1971-porto-alegre-rs">http://enciclopedia.itaucultural.org.br/evento356753/esphera-galeria-de-arte-exposicao-inaugural-1971-porto-alegre-rs</a><o:p></o:p></p>
<p align="center" class="MsoNormal"><o:p> </o:p></p>
<p align="center" class="MsoNormal">DELPHOS GALERIA de
ARTE desde 1974<o:p></o:p></p>
<p align="center" class="MsoNormal"><a href="https://www.delphusgaleria.com.br/">https://www.delphusgaleria.com.br/</a><o:p></o:p></p>
<p align="center" class="MsoNormal">+<o:p></o:p></p>
<p align="center" class="MsoNormal"><a href="http://enciclopedia.itaucultural.org.br/instituicao261696/esphera-galeria-de-arte-porto-alegre-rs">http://enciclopedia.itaucultural.org.br/instituicao261696/esphera-galeria-de-arte-porto-alegre-rs</a><o:p></o:p></p>
<p align="center" class="MsoNormal"><o:p> </o:p></p>
<p align="center" class="MsoNormal">Formação da
PINACOTECA APLUB desde 1975<o:p></o:p></p>
<p align="center" class="MsoNormal"><a href="https://pt.wikipedia.org/wiki/Pinacoteca_APLUB#:~:text=Criada%20por%20iniciativa%20de%20Rolf,do%20Rio%20Grande%20do%20Sul.">https://pt.wikipedia.org/wiki/Pinacoteca_APLUB#:~:text=Criada%20por%20iniciativa%20de%20Rolf,do%20Rio%20Grande%20do%20Sul.</a><o:p></o:p></p>
<p align="center" class="MsoNormal"><o:p> </o:p></p>
<p align="center" class="MsoNormal"><span face="Verdana, sans-serif" style="font-size: 14pt;">GALERIA CAMBONA <o:p></o:p></span></p>
<p align="center" class="MsoNormal"><a href="https://enciclopedia.itaucultural.org.br/instituicao259931/cambona-centro-de-artes-porto-alegre-rs">https://enciclopedia.itaucultural.org.br/instituicao259931/cambona-centro-de-artes-porto-alegre-rs</a><span face="Verdana, sans-serif" style="font-size: 14pt;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face="Verdana, sans-serif" style="font-size: 14pt;">GESTUAL<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face="Verdana, sans-serif" style="font-size: 14pt;"> </span><a href="http://www.gestual.com.br/">http://www.gestual.com.br/</a><o:p></o:p></p>
<p align="center" class="MsoNormal"><o:p> </o:p></p>
<p align="center" class="MsoNormal">Imagem ARTISTAS
VISUAIS SUL-RIO- GRANDENSES expõe em BRASÍLIA in Revista MANCHETE n.966 de
24.10.1970 p. 148<o:p></o:p></p>
<p align="center" class="MsoNormal">FACE BOOK<o:p></o:p></p>
<p align="center" class="MsoNormal"><a href="https://www.facebook.com/photo?fbid=1015157432266742&set=gm.2708612936023560">https://www.facebook.com/photo?fbid=1015157432266742&set=gm.2708612936023560</a></p></div><p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq27-Rk5Kg_D6Aye2fEelgCIPy-D_OuBM9lUg4a1WC1vKurfQEUsrW-wWFztkox29jcP_D2rv9zX9N3HHy59s5rJC3Z0QcgkguM2cxS1xXt1Ma90vTT6MNqTskF0GgViN9mEph0iH3MnvW/s1608/06+-+IBER%25C3%258A+CAMARGO++na+Pr%25C3%2593+DIRTEAS+J%25C3%2581.+1984.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1098" data-original-width="1608" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq27-Rk5Kg_D6Aye2fEelgCIPy-D_OuBM9lUg4a1WC1vKurfQEUsrW-wWFztkox29jcP_D2rv9zX9N3HHy59s5rJC3Z0QcgkguM2cxS1xXt1Ma90vTT6MNqTskF0GgViN9mEph0iH3MnvW/w360-h248/06+-+IBER%25C3%258A+CAMARGO++na+Pr%25C3%2593+DIRTEAS+J%25C3%2581.+1984.jpg" width="360" /></a></div><div style="text-align: center;"><span style="color: #990000; font-family: arial;">Fig.
06 - <b>No período, de 1882 e 1983, Iberê CAMARGO transformou o seu ATELIER em LABORATÓRIO
de IDEIAS e OBRAS especialmente no episódio
das “DIRETAS JÁ”</b>. O ambiente era um convite para a interação, atualização
da inteligência e culminavam em pesquisas individuas. O objetivo maior sempre
foi o de enfrentar a formação de uma consciência coletiva mno qual faziam
sentido estas obras.</span></div><o:p></o:p><p></p><div class="separator" style="clear: both; text-align: center;">
<p align="center" class="MsoNormal"><o:p> </o:p></p>
<p align="center" class="MsoNormal"><span face=""Arial Black", sans-serif" style="font-size: 14pt;">O PERTENCIMENTO dos ARTISTAS VISUAIS SUL-RIO-GRANDENSES: <o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Black", sans-serif" style="font-size: 14pt;">EXPRESSÕES de AUTONOMIA dos <o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Black", sans-serif" style="font-size: 14pt;">ARTISTAS SUL-RIO-GRANDENSES na DÉCADA de 1980<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 45.0pt; margin-top: 0cm; margin: 0cm 45pt 0cm 14.2pt; text-indent: 14.2pt;"><span face=""Arial Black", sans-serif" style="font-size: 18pt;"> </span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 14.2pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;"> A DÉCADA de 1980 decorreu, no BRASIL, no meio da lenta e sofrida retomada da vida
DEMOCRÁTICA até atingir um certo grau de coerência para enfrentar uma nova
ORDEM JURÍDICA. Esta ORDEM culminou na
CONSTITUIÇÃO de 1988. A BUSCA de uma NOVA ORDEM JURÍDICA iniciou nos anos de
1982-1983 pelo movimento social das “DIRETAS JÁ“. Esta BUSCA teve profundos
engajamentos de ARTISTAS de diferentes TENDÊNCIAS e correntes ESTÉTICAS<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 14.2pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">A Constituição do
Estado do Rio Grande do Sul foi promulgada no dia 03 de outubro de 1989 pela
Assembleia Estadual Constituinte. Portanto ela completa 31 ano de vigência
ativa, na data da publicação desta página. Esta constituição estadual foi um
salutar reforço legal para as FORÇAS do campo da CULTURA e da ARTE e que
compromete o governo do Estado com este campo simbólico.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 14.2pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">Antes desta
CONSTITUIÇÃO ESTADUAL surgiu, em 1983, a ASSOCIAÇÃO de AMIGOS do MUSEU de ARTE
do RIO GRANDE do SUL (AAMARGS). A sua criação
é simultânea ao Movimento das
“DIRETAS JÁ”. Neste movimento somaram-se artistas visuais de relevo como Iberê
CAMARGO que abriu o seu atelier dar suporte a esta “ABERTURA POLÍTICA”.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 14.2pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">Nesta somatória de
SENTIMENTOS, de INTELIGÊNCIA e das VONTADES, ganharam relevo e sentido antigas
associações. Algumas chegaram, na década de 1980 ao final de sua proposta
inicial para abraçar novas propostas mais coerentes com a ABERTURA POLÍTICA,
Foi o caso ESPAÇO N.O. que continuou sob outras formas de PESQUISAR e de se
ATUALIZAR<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 14.2pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">Surgiram outras,
como o GRUPO VERTICE de vida intensa porém efêmera devido aos múltiplos outros
projetos e espaços que brotavam em atelieres particulares ou em grupos
solidários na prática das Artes Visuais. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 14.2pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">Mais perene foi o
movimento que constituiu o MUSEU do
TRABALHO iniciado em 1982 e que continua a sua proposta interagindo com
diversas mantenedoras. Dotado de oficinas e de espaços expositivos convive com
outras manifestações artísticas<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 14.2pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">No mesmo ano de
1982 o governo municipal desapropriou o antigo Solar LOPO da COSTA, o restaurou
e lhe conferiu o nome de Museu José Joaquim FELIZARDO. Neste museu os
fotógrafos ganharam um acervo de imagens de suas obras. O térreo é uma das
poucas senzalas preservadas em Porto Alegre.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 14.2pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">Entre 1987 e 1989
ocorreram as tratativas para constituir o PROGRAMA de PÓS GRADUAÇÂO em ARTES
VISAUAS do Departamento de ARTES VISUAIS do INSTITUTO de ARTES da UFRGS. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 14.2pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">No final da década
houve o movimento para apropriar a antiga Usina da CEEE e transformá-la em
lugar cultural. Este movimento ganhou ênfase a partir de 1988. No que se
conhece como USINA do CAZÔMETRO as Artes
Visuais ganharam vários espaços <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 14.2pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;"> O antigo Hotel Majestic foi tombado em 1990 e
transformado no Casa de CULTURA MÁRIO QUINTANA. Sob a responsabilidade estadual
tornou-se sede de galerias, escolinha de Arte e MUSEU de ARTE CONTEMPORÂNEA
(MAC) em 1992<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 14.2pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">O Regime
Republicano, com o seu lema ORDEM e PROGRESSO, completava, no dia 15 de
novembro de 1989, um século de vigência. Certamente este lema é inadequado para
analisar as ARTES que se desenvolveram no Brasil durante este século. Em ARTES
não houve PROGRESSO, porém um ACUMULADO de EXPERIMENTOS, PESQUIUSAS e FORMAÇÃO
de AGRUPAMENTOS de civis com maior ou menor comprometimento do GOVERNO do
REGIME REPUBLICANO. Esta FORMAÇÃO de AGRUPAMENTOS pode ser lida e interpretada
como uma expressão de uma IDENTIDADE ao redor e a partir da ARTE. Indubitável
que houve PESQUISA estética apesar da constante tentação de dar ouvidos e
deixar-se seduzir pela simples e singela ATUALIZAÇÂO da INTELIGÊNCIA. Esta
ainda paga tributos ao magnetismo COLONIAL e ESCRAVAGISTA. Esta dependência da
INTELIGÊNCIA tropeça na constante ACUMULAÇÃO de EXPERIMENTOS impulsionado pelas
falências que não chegam a bom termo. A singela criação e multiplicação de
museus não passa muito além de depósitos a espera da ação do tempo que
deteriora e aniquila algo realizado sem identidade, sem segurança e plena
coerência interna. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 14.2pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;"> Durante este PRIMEIRO SÉCULO do REGIME
REPUBLICANO no BRASIL não houve um CENTRALISMO EXAGERADO como nos REGIME
ANTERIORES colocando sob suspeita e controle qualquer agrupamento civil.
Evidente que houve recaídas lamentáveis como o ESTADO NOVO que QUEIMOU e
PROIBIU as BANDEIRAS dos ESTADOS ou o AUTORITARISMO MONOCRÁTICO MILITARISTA
como de 1964 até 1979.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 14.2pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">Certamente também
não cabe o termo ORDEM. EXPRESSÕES pontuais de AUTONOMIA, de CRIATIVIDADE e de
RENOVAÇÃO são termos mais convenientes. Na RENOVAÇÃO o ARTISTA VISUAL amiúda e
aumenta o volume de sua produção simbólica. Na CRIATIVIDADE busca o seu próprio
potencial e capacidade autoral de nome próprio. Na AUTONOMIA desfaz-se de
amarras conceituais, sociais e passa a projetor o seu ENTE nos eu MODO de SER. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 14.2pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;"> Esta mentalidade produziu a um adensamento,
ao longo do período de 1889 até 1989, perceptível na produção de obras autorais e uma diástole
pela qual a VITALDADE se difundiu por todo território nacional. No Rio Grande
do Sul que acalentava este projeto desde 1835 ela ganhou intensidade e se
cristalizou em realizações republicanas perceptíveis na MAIOR EXPOSIÇÃO e
EVENTO que o CENTENÁRIO FARROUPILHA<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 14.2pt; margin-right: 7.1pt; margin-top: 0cm; margin: 0cm 7.1pt 0cm 14.2pt; text-align: justify; text-indent: 14.2pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">Esta sequência
termina neste ponto a espera de alguém que queira examinar as três décadas
seguinte</span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow", sans-serif">DIRETAS, JÁ 1982-1983<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif"><a href="https://www.todamateria.com.br/diretas-ja/">https://www.todamateria.com.br/diretas-ja/</a></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow", sans-serif">DIRETAS JÁ e IBERÊ CAMARGO<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif"><a href="http://profciriosimon.blogspot.com/2016/10/188-iconografia-sul-rio-grandense.html">http://profciriosimon.blogspot.com/2016/10/188-iconografia-sul-rio-grandense.html</a><o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif"> </span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif" style="mso-fareast-language: ZH-CN;">As ARTES VISUAIS INSTITUCIONALIZADAS no RIO GRANDE
do SUL e a LEGISLAÇÃO.<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif" style="mso-fareast-language: ZH-CN;"><a href="http://profciriosimon.blogspot.com/2018/07/234-estudos-de-arte.html">http://profciriosimon.blogspot.com/2018/07/234-estudos-de-arte.html</a><o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow", sans-serif">ESPAÇO N.O. até 1982<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><a href="https://pt.wikipedia.org/wiki/Espa%C3%A7o_N.O.">https://pt.wikipedia.org/wiki/Espa%C3%A7o_N.O</a>.</p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow", sans-serif">ORIGEM do PROGRAMA de ARTES VISUAIS do DEPARTAMENTO de ARTES
VISUASI do INSTITUTO de ARTES da UGFRS<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><a href="https://sabi.ufrgs.br/F/JS8ES3JLSMR3EV5KE73G8R4NP44I1G56AG565EH8RLPFAGSHBQ-07664?func=find-acc&acc_sequence=001446682">https://sabi.ufrgs.br/F/JS8ES3JLSMR3EV5KE73G8R4NP44I1G56AG565EH8RLPFAGSHBQ-07664?func=find-acc&acc_sequence=001446682</a><o:p></o:p></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow", sans-serif"> </span></p>
<p align="center" class="MsoNormal" style="line-height: 150%;"><span face=""Arial Narrow", sans-serif">AAMARGS em 1983 ate o PRESENTE<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 150%;"><a href="http://profciriosimon.blogspot.com/2018/10/253-estudos-de-arte.html">http://profciriosimon.blogspot.com/2018/10/253-estudos-de-arte.html</a><span face=""Arial Narrow", sans-serif"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 150%; text-indent: 70.9pt;"><span face=""Arial Narrow", sans-serif"> </span></p>
<p align="center" class="MsoNormal" style="line-height: 150%; text-indent: 70.9pt;"><span face=""Arial Narrow", sans-serif">INSTITUIÇÔES e GRUPAMENTOS de ARTISTA
VVISUAI da<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 150%; text-indent: 70.9pt;"><span face=""Arial Narrow",sans-serif"><a href="http://profciriosimon.blogspot.com/2018/09/248-estudos-de-arte.html">http://profciriosimon.blogspot.com/2018/09/248-estudos-de-arte.html</a><o:p></o:p></span></p>
<p class="MsoNormal"><b><span face=""Arial Narrow",sans-serif">GRUPO VÉRTICE -</span></b><span face=""Arial Narrow",sans-serif"> Porto Alegre – RS - 1989-1990<o:p></o:p></span></p>
<p class="MsoNormal"><b><span face=""Arial Narrow",sans-serif">Postagem nº 01</span></b><span face=""Arial Narrow",sans-serif">
<b><a href="http://profciriosimon.blogspot.com.br/2012/08/isto-e-arte-039.html">http://profciriosimon.blogspot.com.br/2012/08/isto-e-arte-039.html</a> 04.08.2012<o:p></o:p></b></span></p>
<p class="MsoNormal"><b><span face=""Arial Narrow",sans-serif">Postagem nº 02</span></b><span face=""Arial Narrow",sans-serif">
<b><a href="http://profciriosimon.blogspot.com.br/2012/08/isto-e-arte-040.html">http://profciriosimon.blogspot.com.br/2012/08/isto-e-arte-040.html</a> 07.08.2012</b><o:p></o:p></span></p>
<p class="MsoNormal"><b><span face=""Arial Narrow",sans-serif">Postagem nº 03</span></b><span face=""Arial Narrow",sans-serif">
<b><a href="http://profciriosimon.blogspot.com.br/2012/08/isto-e-arte-041.html">http://profciriosimon.blogspot.com.br/2012/08/isto-e-arte-041.html</a> 09.08.2012<o:p></o:p></b></span></p>
<p class="MsoNormal"><b><span face=""Arial Narrow",sans-serif">Postagem nº 04 <a href="http://profciriosimon.blogspot.com.br/2012/08/isto-e-arte-042.html">http://profciriosimon.blogspot.com.br/2012/08/isto-e-arte-042.html</a></span></b><span face=""Arial Narrow",sans-serif">. <b>10.08.2012<o:p></o:p></b></span></p>
<p class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;"> </span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow", sans-serif">MUSEU do TRABALHO PORTO ALEGRE de 1982<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif"><a href="https://pt.wikipedia.org/wiki/Museu_do_Trabalho">https://pt.wikipedia.org/wiki/Museu_do_Trabalho</a></span><span face=""Arial Narrow", sans-serif"><o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow", sans-serif">+ galeria<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><a href="https://www.tripadvisor.com.br/LocationPhotoDirectLink-g303546-d2365614-i178421872-Museu_do_Trabalho-Porto_Alegre_State_of_Rio_Grande_do_Sul.html">https://www.tripadvisor.com.br/LocationPhotoDirectLink-g303546-d2365614-i178421872-Museu_do_Trabalho-Porto_Alegre_State_of_Rio_Grande_do_Sul.html</a><span face=""Arial Narrow", sans-serif"><o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow", sans-serif">ROCHELE COSTI no MUSEU do TRABALHO<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif"><a href="https://gauchazh.clicrbs.com.br/cultura-e-lazer/artes/noticia/2018/10/rochelle-costi-faz-resgate-da-porto-alegre-dos-anos-1980-em-mostra-no-museu-do-trabalho-cjnovm54r087q01pi1alt8cki.html">https://gauchazh.clicrbs.com.br/cultura-e-lazer/artes/noticia/2018/10/rochelle-costi-faz-resgate-da-porto-alegre-dos-anos-1980-em-mostra-no-museu-do-trabalho-cjnovm54r087q01pi1alt8cki.html</a><o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif"> </span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif">MISSÔES (COMO CONTRUIR CATEDRAIS)
1987 de CILDO MEIRELES<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><a href="https://redesina.com.br/missao-missoes-como-construir-uma-catedral-obra-de-cildo-meireles/">https://redesina.com.br/missao-missoes-como-construir-uma-catedral-obra-de-cildo-meireles/</a><o:p></o:p></p>
<p align="center" class="MsoNormal">+<span face=""Arial Narrow",sans-serif"><o:p></o:p></span></p>
<p align="center" class="MsoNormal"><a href="https://www.youtube.com/watch?v=xLotZr4SpN4">https://www.youtube.com/watch?v=xLotZr4SpN4</a><o:p></o:p></p>
<p align="center" class="MsoNormal">+<o:p></o:p></p>
<p align="center" class="MsoNormal"><a href="http://gravuracontemporanea.com.br/cildo-meireles-um-artista-alem-da-imaginacao/">http://gravuracontemporanea.com.br/cildo-meireles-um-artista-alem-da-imaginacao/</a><o:p></o:p></p>
<p align="center" class="MsoNormal">=<o:p></o:p></p>
<p align="center" class="MsoNormal"><a href="file:///C:/Users/Cirio/Downloads/4956-Texto%20do%20artigo-16599-1-10-20141226%20(1).pdf">file:///C:/Users/Cirio/Downloads/4956-Texto%20do%20artigo-16599-1-10-20141226%20(1).pdf</a><o:p></o:p></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif"> </span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif">USINA do GAZOMETRO a partir de
1988<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif"><a href="https://pt.wikipedia.org/wiki/Usina_do_Gas%C3%B4metro">https://pt.wikipedia.org/wiki/Usina_do_Gas%C3%B4metro</a><o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif"> </span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif">MUSEU JOSE´JOAQUIM FELIZARDO 1982<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif"><a href="http://www2.portoalegre.rs.gov.br/smc/default.php?reg=195&p_secao=86">http://www2.portoalegre.rs.gov.br/smc/default.php?reg=195&p_secao=86</a><o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif"> </span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif">FACE BOOK<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><a href="https://www.facebook.com/photo?fbid=1015930078856144&set=gm.2709470505937803">https://www.facebook.com/photo?fbid=1015930078856144&set=gm.2709470505937803</a><span face=""Arial Narrow",sans-serif"><o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Black",sans-serif" style="font-size: 10pt; mso-bidi-font-size: 12.0pt;"> </span></p></div><p align="center" class="MsoNormal" style="text-align: center;"><a href="https://lume.ufrgs.br/bitstream/handle/10183/206715/001112638.pdf?sequence=1&isAllowed=y"></a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvTPBejvum3ymw5toUeO4FfBlQgSNIWIkmoon14SwE4Cx8yCnKTHz_Sb2Z_Y2WxJNFbn_1C4D2HL9nhFX3mwATK693pGS8tKPoL3i-NmkNs6ftY6Fqq-OgRMEm197Gv9c6-bs3oX3-cqtX/s2048/07+cildo_meireles_galeria_de_gravura_1.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1317" data-original-width="2048" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvTPBejvum3ymw5toUeO4FfBlQgSNIWIkmoon14SwE4Cx8yCnKTHz_Sb2Z_Y2WxJNFbn_1C4D2HL9nhFX3mwATK693pGS8tKPoL3i-NmkNs6ftY6Fqq-OgRMEm197Gv9c6-bs3oX3-cqtX/w343-h245/07+cildo_meireles_galeria_de_gravura_1.jpg" width="343" /></a></div><br />https://lume.ufrgs.br/bitstream/handle/10183/206715/001112638.pdf?sequence=1&isAllowed=y<o:p></o:p><p></p><div class="separator" style="clear: both; text-align: center;">
<p align="center" class="MsoNormal"><span face=""Arial",sans-serif" style="color: #c00000; font-family: arial; mso-fareast-language: ZH-CN;">Fig.
07 – <b>A obra “MISSÕES: COMO se CONTROI
CATEDRAIS’ de Cildo MEIRELES integra um projeto raro no qual um grupo de
artistas do centro da Brasil deixa-se
impregnar e produz obras com temática sul-rio-grandense.</b> O grupo destes
artistas visuais era formado Cildo MEIRELES, Carlos FELIZARDO Danlel SENISE,
Ester GRINSPUN, Jacques BEDEL, Lívio ABRAMO, Luiz Rafael FRANÇA, Maurício
BENTES, Maurício BAUMSTEIN e Vera CHAVES BARCELOS As suas obras foram expostas,
em 1987, na REITORIA da UFRGS. Obra de
Cildo MEIRELES teve repercussões
internacionais e foi adquirido por um colecionado
da SUIÇA. <o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial",sans-serif" style="color: #c00000; font-family: arial; mso-fareast-language: ZH-CN;"> </span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow", sans-serif">RECAPITULANDO: 1ª parte:
décadas de 1890 até 1930 - <o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif"><a href="https://profciriosimon.blogspot.com/2020/10/estudos-de-arte-n-288.html">https://profciriosimon.blogspot.com/2020/10/estudos-de-arte-n-288.html</a><o:p></o:p></span></p></div><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia089gREfuLGWDuYirdInSbdCkaLSIMIoQfjXc06rfH_Ooleht9wPYQ4L44SPOb3f-rDFzU_xljQfeENvMvfuYce3WiQE2Fb6A7w-Ni2gqef7dolEVRjJfsP5VbhPtJv9qlvSh5QhyKdYa/s221/08+-+CREATIVE+COMMONS.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="49" data-original-width="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia089gREfuLGWDuYirdInSbdCkaLSIMIoQfjXc06rfH_Ooleht9wPYQ4L44SPOb3f-rDFzU_xljQfeENvMvfuYce3WiQE2Fb6A7w-Ni2gqef7dolEVRjJfsP5VbhPtJv9qlvSh5QhyKdYa/s0/08+-+CREATIVE+COMMONS.jpg" /></a></div><br /><p></p><p align="center" class="MsoNormal" style="margin-right: -11.7pt; mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span face=""Arial Narrow",sans-serif" style="color: #c00000; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">Este
material possui uso restrito ao apoio do processo continuado de
ensino-aprendizagem</span><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin-right: -11.7pt; mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span face=""Arial Narrow",sans-serif" style="color: #c00000; font-size: 11pt; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">Não há pretensão de lucro ou de apoio
financeiro nem ao autor e nem aos seus eventuais usuários</span><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin-right: -11.7pt; mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span face=""Arial Narrow",sans-serif" style="color: #c00000; font-size: 11pt; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">Este material é editado e divulgado
em língua nacional brasileira e respeita a formação histórica deste idioma.</span><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span face=""Arial Narrow",sans-serif" style="color: #984806; font-size: 11pt; mso-bidi-font-family: "Arial Narrow"; mso-fareast-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><span style="mso-spacerun: yes;">
</span></span><span style="mso-fareast-language: ZH-CN;"><a href="http://creativecommons.org/licenses/by/3.0/"><span face=""Arial Narrow",sans-serif" style="color: navy; font-size: 9pt; mso-bidi-font-family: "Arial Narrow";">http://creativecommons.org/licenses/by/3.0/</span></a></span><span face=""Arial Narrow",sans-serif" style="font-size: 9pt; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span face=""Arial Narrow",sans-serif" style="font-size: 9pt; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p> </o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">ASSISTÊNCIA TÉCNICA e DIGITAL de<span style="mso-spacerun: yes;"> </span>CÌRIO JOSÉ SIMON</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="https://www.facebook.com/photo.php?fbid=10205784875074212&set=a.1709833538793.2091031.1026728341&type=1&theater"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="color: navy; mso-bidi-font-family: "Arial Narrow";">https://www.facebook.com/photo.php?fbid=10205784875074212&set=a.1709833538793.2091031.1026728341&type=1&theater</span></b></a></span><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p> </o:p></span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">Referências para Círio SIMON</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">E-MAIL</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="mailto:prof.cirio.simon@gmail.com"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" lang="ES" style="background: white; color: #1155cc; mso-ansi-language: ES; mso-bidi-font-family: "Arial Narrow"; mso-font-kerning: 1.0pt;">prof.cirio.simon@gmail.com</span></b></a></span><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" lang="ES" style="mso-ansi-language: ES; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></b></p>
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<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="http://www.lume.ufrgs.br/handle/10183/1445"><span face=""Segoe UI",sans-serif" style="color: blue; font-size: 10pt;">http://www.lume.ufrgs.br/handle/10183/1445</span></a></span><span face=""Segoe UI",sans-serif" style="color: black; font-size: 10pt; mso-fareast-language: ZH-CN;"> </span><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
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Instituto de Artes da UFRGS</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="http://www.lume.ufrgs.br/handle/10183/2632"><span face=""Segoe UI",sans-serif" style="color: blue; font-size: 10pt;">http://www.lume.ufrgs.br/handle/10183/2632</span></a></span><span face=""Segoe UI",sans-serif" style="color: black; font-size: 10pt; mso-fareast-language: ZH-CN;"> </span><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
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<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="https://www.facebook.com/cirios2"><span face=""Arial Narrow",sans-serif" lang="EN-US" style="color: navy; mso-ansi-language: EN-US; mso-bidi-font-family: "Arial Narrow";">https://www.facebook.com/cirios2</span></a></span><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></b></p>
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<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="http://prof-cirio-simon.webnode.com/"><span face=""Arial Narrow",sans-serif" style="color: navy; mso-bidi-font-family: "Arial Narrow";">http://prof-cirio-simon.webnode.com/</span></a></span><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" lang="ES-CL" style="mso-ansi-language: ES-CL; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">VÌDEO</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; tab-stops: 219.75pt; text-align: center; text-indent: 2.25pt;"><span face=""Arial Narrow",sans-serif" style="color: black; mso-ansi-language: ES-CL; mso-bidi-font-family: "Arial Narrow"; mso-fareast-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><span style="mso-spacerun: yes;"> </span></span><span style="mso-fareast-language: ZH-CN;"><a href="http://www.youtube.com/watch?v=qdqXEg7ugxA"><span face=""Arial Narrow",sans-serif" lang="ES-CL" style="color: navy; mso-ansi-language: ES-CL; mso-bidi-font-family: "Arial Narrow";">http://www.youtube.com/watch?v=qdqXEg7ugxA</span></a></span><span face=""Arial Narrow",sans-serif" lang="ES-CL" style="font-size: 11pt; line-height: 150%; mso-ansi-language: ES-CL; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span face=""Arial Black",sans-serif" style="font-size: 14pt; mso-bidi-font-family: "Arial Black"; mso-fareast-language: ZH-CN;">.</span><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>Prof. Círio Simonhttp://www.blogger.com/profile/06566693954184732946noreply@blogger.com0tag:blogger.com,1999:blog-1362905750550965943.post-781793826516699932020-10-03T10:07:00.003-07:002020-10-03T11:53:06.853-07:00ESTUDOS de ARTE nº 288 <p align="center" class="MsoNormal" style="line-height: 115%; mso-hyphenate: none; text-align: center;"><span face=""Verdana",sans-serif" style="font-size: 11pt; line-height: 115%; mso-bidi-font-size: 14.0pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><b><span style="font-family: arial; font-size: x-large;">UM SÉCULO</span></b><span face=""Arial Black", sans-serif"><span style="font-family: arial; font-size: x-large;"><b> de
ASSOCIAÇÕES dos ARTISTAS VISUAIS SUL-RIO-GRANDENSES</b></span><o:p style="font-size: 18pt;"></o:p></span></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span face=""Arial",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"></span></p><div class="separator" style="clear: both; text-align: center;"><span face=""Arial Black", sans-serif" style="font-size: 18pt;">- 1ª parte: décadas de 1890 até 1930 -</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgozEzfZ3trhXNulWTnvJgot4rEkTk60k6QpAV3JN5ILw1uZG-Shllx0GMgoID0vwXma_PVaGHKg9zWPWH8A9P41YUNORUImNTlxtTo8OCREwKDgUOjuzE6Skb_C6K2DZsLmmHW1YUUq4OF/s1688/01+-+Exposi%25C3%25A7%25C3%25A3o+alem%25C3%25A3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1092" data-original-width="1688" height="341" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgozEzfZ3trhXNulWTnvJgot4rEkTk60k6QpAV3JN5ILw1uZG-Shllx0GMgoID0vwXma_PVaGHKg9zWPWH8A9P41YUNORUImNTlxtTo8OCREwKDgUOjuzE6Skb_C6K2DZsLmmHW1YUUq4OF/w406-h341/01+-+Exposi%25C3%25A7%25C3%25A3o+alem%25C3%25A3.jpg" width="406" /></a></div><br /><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: center;"><span style="color: #990000; font-family: arial;">Fig.
01 <b>A PROFISSIONALIZAÇÂO dos ARTISTAS
VISUAIS acompanhou, de perto, as mostras e das exposições da INDÚSTRIA e do COMERCIO</b>.
Os SALÔES de ARTE - ao adquirirem uma autonomia em relação às mostras
industriais e comerciais - eram realizados de dois em dois anos, daí o termo “BIENAIS
de ARTE”. Estas BIENAIS caíram sob a
tutela do empresariado e que as realizam pelo mundo afora até os dias atuais. <b> </b>A
EXPOSIÇAO BRASILEIRA-ALEMÂ foi realizada no Rio Grade do Sul, em 1881, ainda no
Império, Ela gerou motivações, um modelo e um desafio crescente, observável na
exposição de 1901 e em especial da EXPOSIÇÂO do CENTENÀRIO FARROUPILHA. Os
artistas visuais tinham espaços específicos, compareciam, expunham, interagiam,
eram premiados e vendiam as suas obras nestas grandes mostras.</span></blockquote><o:p></o:p><p></p><p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Black", sans-serif" style="font-size: 18pt;">Os DESAFIOS da PROFISSIONALIZAÇÃO de
ARTISTAS VISUAIS no RIO GRANDE do SUL</span><span face="Verdana, sans-serif" style="font-size: 14pt;"> </span></p><p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; mso-hyphenate: none; text-align: justify; text-indent: 42.55pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 115%;">As FORMAS de ASSOCIAÇÃO e de PROFISSIONALIZAÇÃO dos ARTISTAS
VISUAIS SUL-RIO-GRANDENSES</span><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;"> são desconexas, obscuras e pouco documentadas,
pesquisadas e divulgadas</span><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 115%;">.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; mso-hyphenate: none; text-align: justify; text-indent: 42.55pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">Diante do acúmulo
documental, deste tema em outros centros culturais, o período </span><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 115%;">de um </span><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">século destes
registros locais é</span><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 115%;"> curto,</span><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;"> mas
desconhecido da maioria. Os documentos destes outros centros culturais pouco
ajudam no Rio Grande do Sul no tempo presente, pois são de outra sociedade,
circunstâncias e lugar.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; mso-hyphenate: none; text-align: justify; text-indent: 42.55pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 115%;">No espaço simbólico das ARTES antes de terem condições de
autonomia é necessário considerar sede fato as necessidades básicas humanas
foram supridas do RIO GRANDE DO SUL No contraditório as MISSÔES JESUÍTICAS
demonstraram que as NECESSIDADES BÁSICAS HUMANAS podem andar lado a lado com o
simbólico da ARTE.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; mso-hyphenate: none; text-align: justify; text-indent: 42.55pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 115%;">Também é necessário considerar que qualquer veleidade estética no
BRASIL COLÔNIA era patrulhada e tolhida pela raiz. Eram tolerados tão
somente festejos alienantes e
´potencialmente NÂO questionadores do
PODER POLÌTICO do COLONIZADOR. Neste patrulhamento os materiais de arte eram
artigos de luxo e com impostos proibitivos o que desanimava qualquer potencial
artista. Além disto qualquer retrato individual, nome de artista ou algo
considerado luxo residencial, eram tolhidos por administradores lusitanos
natos. O nativo do Brasil não podia ir além de soldado raso no exército.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; mso-hyphenate: none; text-align: justify; text-indent: 42.55pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 115%;">Na ANTÍTISE, desta TESE, impõe reconhecer os atos, escolhas e as
realizações dos pioneiros - a praticar o ASSOCIATIVISMO, a PERTENCIMENTO e o NOME INDIVIDUAL nas ARTES VISUAIS no RIO
GRANDE do SUL - demoraram e foram muito difíceis de iniciar e de manter vivo
por tempo indeterminado. <o:p></o:p></span></p><p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; mso-hyphenate: none; text-align: justify; text-indent: 42.55pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 115%;">A maioria destes pioneiros foi obscurecida pelo enorme desafio de
se oporem a estes atos coloniais, os parcos resultados e absoluta falta de um
público capaz de ver um pouco além deste brete estético colonial.<o:p></o:p></span></p><p align="center" class="MsoNormal" style="line-height: 115%; margin-right: 23.7pt; mso-hyphenate: none; text-align: center; text-indent: 42.55pt;"><span face=""Arial Narrow", sans-serif" style="font-size: 14pt; line-height: 115%;">Imagem Revista HORIZONTE - Porto Alegre - Outubro – novembro de 1952
nº 9 capa Vasco Prado<o:p></o:p></span></p><p align="center" class="MsoNormal" style="line-height: 115%; margin-right: 23.7pt; mso-hyphenate: none; text-align: center; text-indent: 42.55pt;"><span face=""Arial Narrow", sans-serif" style="font-size: 14pt; line-height: 115%;">FACE BOOK<o:p></o:p></span></p><p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;">
<span face=""Arial",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://www.facebook.com/photo?fbid=1006343566481462&set=gm.2698735257011328" style="text-indent: 42.55pt;">https://www.facebook.com/photo?fbid=1006343566481462&set=gm.2698735257011328</a>´</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6l07aZJ_Vjk5hjuJ2fHqK5YBOCy_yhTdTk-2BEA-AkthrBj_6QPsOzSYfbYnRvqMJxvvVPJDVEVsKD4CNs-vJOJMmMauCg12d9JMPL5cG7Jm06vLCfnYiYKMGXaz6BfwKoHWtSSpXEYbp/s1285/02++-+PELICHEK%252C+Francis+ou+Frantisek+-+1896+-+1937+-Exp%25C3%25B5e+em+Porto+Alegre.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="735" data-original-width="1285" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6l07aZJ_Vjk5hjuJ2fHqK5YBOCy_yhTdTk-2BEA-AkthrBj_6QPsOzSYfbYnRvqMJxvvVPJDVEVsKD4CNs-vJOJMmMauCg12d9JMPL5cG7Jm06vLCfnYiYKMGXaz6BfwKoHWtSSpXEYbp/w389-h251/02++-+PELICHEK%252C+Francis+ou+Frantisek+-+1896+-+1937+-Exp%25C3%25B5e+em+Porto+Alegre.jpg" width="389" /></a></div><div style="text-align: center;"><span style="color: #990000; font-family: arial;">Fig.
02 </span><b style="color: #990000; font-family: arial;">As FORMAS de atingir o público,
atrair observadores e comparadores de suas obras começaram a se tornar mais
comuns para os ARTISTAS VISUAIS. Estas FORMAS acompanharam, de perto, as mostras
e as exposições da INDÚSTRIA e do COMERCIO.
</b><span style="color: #990000; font-family: arial;">No Rio Grade do Sul, no plano mundial, estas formas estiveram num
caminho próximo. A “VERNUISSAGEM” de Francis PELICHECK evidencia uma forma de
fazer conhecida, observada e adquirida pelos pioneiros dos colecionadores e obras
de artes visuais do Rio Grande do Sul. Sempre é bom DIFERENCIAR que os produtos
da INDUSTRIA e do COMERCIO são destinados ao CONSUMO e para a OBSOLESCÇENCIA.
.Enquanto as OBRAS de ARTE são para a PERMANÊNCIA e a VALORIZAÇÂO na MEDIDA da
PASSAGEM do TEMPO.</span></div><p></p><div class="separator" style="clear: both; text-align: center;">
<p class="MsoNormal" style="text-align: center;"><span style="color: #990000; font-family: arial; font-size: 22pt;"> </span></p>
<p align="center" class="MsoNormal"><span face=""Arial Black", sans-serif" style="font-size: 18pt;">A NATUREZA do PERTENCIMENTO dos </span></p><p align="center" class="MsoNormal"><span face=""Arial Black", sans-serif" style="font-size: 18pt;">ARTISTAS VISUAIS SUL-RIO-GRANDENSES <o:p></o:p></span></p>
<p class="MsoNormal"><span face=""Arial Black", sans-serif" style="font-size: 18pt;"> </span></p>
<p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; mso-hyphenate: none; text-align: justify; text-indent: 42.55pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">O ARTISTA VISUAL ocidental
proclamou a sua autonomia e isolou-se no seu próprio ATELIER. O seu
pertencimento a UM GRUPO é diferente do MÚSICO com a sua orquestrar ou o ATOR
com a sua trupe.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; mso-hyphenate: none; text-align: justify; text-indent: 42.55pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">Numa visão de longa duração
este ARTISTA VISUAL passou, na Idade Média, pelas GUILDAS que possuíam identidade
própria, protocolos e hierarquias ao paradigma das ordens religiosas e da atual
maçonaria. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; mso-hyphenate: none; text-align: justify; text-indent: 42.55pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">No Renascimento italiano o
pertencimento, deste mesmo ARTISTA VISUAL passou a referendar-se, nas ACADEMIAS
de ARTES PLÁSTICAS dos mais variados matizes. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; mso-hyphenate: none; text-align: justify; text-indent: 42.55pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">Com a ERA INDUSTRIAL o
PERTENCIMENTO, dos ARTISTAS VISUAIS, desembocou nas universidades na medida que
estes artistas procuravam produzir suas obras como resultado de projetos
mentais. A IDENTIDADE do ARTISTA VISUAL passou, nesta mesma ERA
INDUSTRIAL, a ser regida pela MARCA
singular e única expressa pelo NOME próprio separado. Na sua AUTONMIA POÉTICA e
muitas vezes de FAVELA, ele começou a praticar as ARTES NOBRES sem utilidade
imediata e em hierarquia. O SISTEMA INDUSTRIAL reagiu - a esta SOBERANIA
INDIDUAL - trouxe o ARTISTA VISUAL de
retorno ao pertencimento ao MERCADO de ARTE compulsório, seduziu-o com TÌTULO
de GÊNIO, HIRARQUZOU a categoria separada em PRÊMIOS nos SALÕES de ARTE e o transformou as ARTES NOBRES em valiosos produtos simbólicos
.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; mso-hyphenate: none; text-align: justify; text-indent: 42.55pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">No Rio Grande do Sul estas
fases - de uma visão de longa duração - são muito confusas muito difíceis da
aplicar e serem recebidas. Estas etapas gerais não foram superadas e continuam
a funcionar numa espécie de MUSEU VIVO.
A ERA AGRICOLA PASTORIL é vigente até os duas atuais e DETERMINANTE da
MENTALIDADE de produtores e apreciadores das ARTES VISUAIS. A tateante ERA INDUSTRIAL virou sucata antes
de esgotar o seu tempo. A ÉPOCA PÓS-INDUSTRIAL empréstimo cujos protocolos das
franquias foram impostas de FORA para DENTRO e de CIMA para BAIXO;<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; mso-hyphenate: none; text-align: justify; text-indent: 42.55pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">No contraditório a vigência
simultânea delas, no RIO GRANDE do SUL, permite encontrar formas de
pertencimento em plena vigência e de todas estas etapas. Nos CTG’S está
nitidamente viva e cultivada a sua memória e os seus mitos AGRÍCOLAS PASTORIS.
A ERA INDUSTRIAL congrega praticantes ativos de consagração fundados no SISTEMA
das ARTES TAYLORISTAS. Os fugazes momentos de PERTENCIMENTO e de IDENTIDADE
característicos da ÉPOCA PÓS INDUSTRIAL materializam-se pontualmente nas
BIENAIS de ARTES VISUAIS sustentadas por atualizações da inteligência e com
obras entregues imediatamente para a obsolescência programada. <o:p></o:p></span></p>
<p align="center" class="MsoNormal"><b><span face=""Verdana",sans-serif"> </span></b></p>
<p align="center" class="MsoNormal"><b><span face=""Verdana",sans-serif">AUTONOMIA do ARTISTA e o
seu PERTENCIMENTO.<o:p></o:p></span></b></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif" style="font-size: 16pt;"><a href="http://profciriosimon.blogspot.com.br/2013/05/004-expressoes-de-autonomia-na-arte.html">http://profciriosimon.blogspot.com.br/2013/05/004-expressoes-de-autonomia-na-arte.html</a><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;"> </span></p>
<p align="center" class="MsoNormal" style="line-height: 115%;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">Imagem: José de
FRANCESCO (1889-1967) - </span><i><span face=""Arial Black",sans-serif" style="font-size: 14pt; line-height: 115%;">Ciranda</span></i><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">
- 1956 - ACERVO do MARGS<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">FACEBOOK<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%;"><a href="https://www.facebook.com/photo?fbid=1007120976403721&set=gm.2699613500256837">https://www.facebook.com/photo?fbid=1007120976403721&set=gm.2699613500256837</a><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;"><o:p></o:p></span></p></div><p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnGcAl1bsE6my2RP-0xDWbWX2V4pvKvpPxsnpPM6jmh7LchnujmkL_Bcsvuxhk3D3dGMJCF3kceD2FwNYDR_c2dpIzx1zL0TMDexHimkw9juAvb1cMsn386ObSenI8avaypK1j8saoyPdY/s965/03+--+MONUMENTO+J%25C3%259ALIO+de+CASTILHOS.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="965" data-original-width="717" height="457" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnGcAl1bsE6my2RP-0xDWbWX2V4pvKvpPxsnpPM6jmh7LchnujmkL_Bcsvuxhk3D3dGMJCF3kceD2FwNYDR_c2dpIzx1zL0TMDexHimkw9juAvb1cMsn386ObSenI8avaypK1j8saoyPdY/w395-h457/03+--+MONUMENTO+J%25C3%259ALIO+de+CASTILHOS.jpg" width="395" /></a></div><div style="text-align: center;"><span style="color: #990000; font-family: arial;">Fig.
03 </span><b style="color: #990000; font-family: arial;">O REGIME REPUBLICANO providenciou uma
legislação flexível e suficientemente criativa para os ARTISTAS VISUAIS
estivessem no pleno gozo de sua liberdade criadora, profissional e</b><span style="color: #990000; font-family: arial;"> </span><b style="color: #990000; font-family: arial;">social</b><span style="color: #990000; font-family: arial;"> Este REGIME REPUBLICANO abriu espaço,
no Rio Grade do Sul, para constituição de sociedades e associações. Estas
elaboravam os seus próprios estatutos e os depositavam em CARTÓRIOS de REGISTROS
tornando-os legais, públicos, transparentes e eficientes para os fins que se propunham.</span></div><o:p></o:p><p></p><div class="separator" style="clear: both; text-align: center;">
<p align="center" class="MsoNormal"><span face="Verdana, sans-serif" style="font-size: 18pt;"> </span></p>
<p align="center" class="MsoNormal"><span face=""Arial Black", sans-serif" style="font-size: 18pt;">FORMAS PRIMORDIAIS de PERTENCIMENTO, de
SOCIALIZAÇÂO e de PROFISSIONALIZAÇÂO dos
ARTISTAS VISUAIS SUL-RIO-GRANDENSES<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Black", sans-serif" style="font-size: 18pt;"> </span></p>
<p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; mso-hyphenate: none; text-align: justify; text-indent: 63.8pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">Os GRÊMIOS REPUBLICANOS, atingirem
o seu ÊXITO e TRIUNFIO na IMPLANTAÇÃO de seu REGIME no RIO GRANDE do SUL. Trataram logo de criar instrumentos legais e jurídicos
para que a sociedade civil pudesse organizar-se e pleitear um lugar de
cidadania. Esta cidadania republicana foi contemplada pel</span><span face=""Verdana",sans-serif" style="background: white; color: #212529; font-size: 14pt; line-height: 115%; mso-bidi-font-family: "Segoe UI";">o art. 72, ;§
3º</span><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">
da CONSTITUIÇÃO BRASILEIRA de 1891, Este
artigo foi regulamentado por meio da Lei
nº 173 de 10 de setembro de 1893. O caput desta LEI previa a “</span><i><span face=""Verdana",sans-serif" style="background: white; color: #073763; font-size: 14pt; line-height: 115%; mso-bidi-font-family: "Lucida Sans Unicode";"><b>REGULAMENTAÇÃO
, ORGANIZAÇÃO , ASSOCIAÇÕES , DENOMINAÇÃO , OBJETIVO , MORAL , RELIGIÃO ,
ATIVIDADE CIENTIFICA , ATIVIDADE ARTISTICA , ATIVIDADE CULTURAL , PESSOA
JURIDICA , SOCIEDADE ANONIMA</b></span></i><span face=""Verdana",sans-serif" style="background: white; color: #333333; font-size: 14pt; line-height: 115%; mso-bidi-font-family: "Lucida Sans Unicode";">”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; mso-hyphenate: none; text-align: justify; text-indent: 63.8pt;"><span face=""Verdana",sans-serif" style="background: white; color: #333333; font-size: 14pt; line-height: 115%; mso-bidi-font-family: "Lucida Sans Unicode";">No RIO GRANDE do SUL esta sintética, mas
abrangente, </span><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">Lei </span><span face=""Verdana",sans-serif" style="background: white; color: #333333; font-size: 14pt; line-height: 115%; mso-bidi-font-family: "Lucida Sans Unicode";">federal</span><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;"> de nº 173 </span><span face=""Verdana",sans-serif" style="background: white; color: #333333; font-size: 14pt; line-height: 115%; mso-bidi-font-family: "Lucida Sans Unicode";"> forneceu as bases jurídicas para a criação dos CURSOS SUPERIORES, Para
organizar o seu PODER ORIGINÀRIO, também nas ARTES a ex província - agora
ESTADO - já possuía e era competente com uma </span><span face=""Verdana",sans-serif" style="background: white; color: #212529; font-size: 14pt; line-height: 115%; mso-bidi-font-family: "Segoe UI";">Constituição própria, aprovada e
promulgada no dia </span><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">14 de julho de 1891, </span><span face=""Verdana",sans-serif" style="background: white; color: #333333; font-size: 14pt; line-height: 115%; mso-bidi-font-family: "Lucida Sans Unicode";">com LEGISLATIVO, EXECUTIVO e JUDICIÀÁRIO. Na época da CAPIUTANIA e
DEPOUIS PROVÌNCIA esta iniciativa necessitava o beneplácito do TRONO REAL ou
IMPERIAL </span><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; mso-hyphenate: none; text-align: justify; text-indent: 63.8pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">A Lei nº 173 de 10 de
setembro de 1893 foi o suporte a base legal para criação da COMISSÃO CENTRAL do
INSTITUTO de BELAS ARTES do RIO GRANDE do SUL, no dia 22 de abril de 1908. A
Lei federal nº 173 de 10. 09. 1893 REGULAMTAVA, ORGANIZAVA, DENOMINAVA as
ASSOCIAÇOES das ATIVIDADES ARTÍSTICAS. Esta mesma lei constitui a extensão para
todo território do ESTADO para a criação de 64 COMISSÕES REGINAIS com mesma
finalidade e suportes da COMISSÂO CENTRAL<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; mso-hyphenate: none; text-align: justify; text-indent: 63.8pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">Na década de 1890 foram
plantadas as sementes e os suportes civis das ATIVIDADES ARTÌSTICAS SUL-RIO-
GRANDENES. No aspecto prático OLINTO de OLIVEIRA conseguiu um lugar público
para que os artistas individuas e com nome próprio pudessem expor as suas obras</span><i><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%; mso-fareast-language: ZH-CN;">”</span></i><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%; mso-fareast-language: ZH-CN;"> A origem da
Galeria</span><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">
na Loja “AO PREÇO FIXO PORTO ALEGRE” foi </span><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%; mso-fareast-language: ZH-CN;"> relatada por Damasceno (1971, p. 448)</span><i><span face=""Verdana",sans-serif" style="background: white; color: #202122; font-size: 16pt; line-height: 115%; mso-bidi-font-family: Arial;"><o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; text-align: justify;"><i><span face=""Verdana",sans-serif" style="color: #073763; font-size: 14pt; line-height: 150%; mso-fareast-language: ZH-CN;"><b>“Em
1893, por sugestão e empenho seu. Inaugura-se nas Ruas dos Andradas, em amplo
compartimento envidraçado do bazar O Preço Fixo, de propriedade de Pedro Porto,
a primeira Galeria de Artes Plásticas de Porto Alegre, destinada a expor peças
s de pintura e escultura de autores famosos”</b></span></i><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;"> <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; mso-hyphenate: none; text-align: justify; text-indent: 63.8pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">No aspecto conceitual e de
comunicação pública das ARTES VISUAIS o CRONISTA de ARTE, do Correio do Povo, OLINTO de OLIVEIRA exercia uma critica da alto
nível. Com assinatura de Maurício Bœhm, podem ser citados os textos ‘<i>Romualdo Prati</i>’ (12.07.1896) ‘<i>Litran</i>’ (20.11.1896), ‘<i>Libindo Ferrás</i>’(13.02.1897, ‘<i>Bellas Artes – Pedro Weingärtner</i>’ (Domingo
03.07.1898) e ‘<i>Pedro Weingärtner</i>’
(11.12.1898). </span><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%; mso-fareast-language: ZH-CN;">O pensamento e as crônicas de Olímpio Olinto de
Oliveira estão sendo resgatados e
sistematizados pela pesquisadora Cláudia Maria Gonçalves, do programa de
pós-graduação de Música do Instituto de Artes da UFRGS sob a orientação da
Profª Drª Maria Elizabeth Lucas.</span><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;"> Para Maurício Bœhm ver
Damasceno (1971, p.239).<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; mso-hyphenate: none; text-align: justify; text-indent: 63.8pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">No aspecto INSTITUCIONAL
OLINTO de OLIVEIRA lançou, em 1897 ou INSTITUTO de ARTES que foi continuado,
até 1967 pelo CLUBE HAIDN. No entanto foi a semente para o INSTITUTO LIVRE de
BELAS ARTES do RIO GRANDE do SUL com o beneplácito e ajuda do governo Carlos
Barbosa e efetivado em 22 de abril de 1908<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; text-align: justify; text-indent: 2cm;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">Estas </span><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 115%;">FORMAS </span><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">EMBRIONÁRIAS e </span><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 115%;">PRIMÓRDIAIS de PERTENCIMENTO, SOCIALIZAÇÂO e</span><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">
PROFISSIONALIZAÇLÂO dos ARTISTAS VISUAIS, do século XIX, irão num crescendo de
afirmação e de permanência ao longo do século XX no Rio Grande do Sul Numa
visão panorâmica é necessário acompanhar, também, as 64 COMISSÕES REGIONAIS de
1908 que criaram o INSTITUTO de BELAS ARTE, Em cada um desta comunidades
vislumbram-se referências para numerosos
artistas visuais espalhados pelo território do Rio Grande do Sul.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; text-align: justify; text-indent: 2cm;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;"> </span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm;"><b><span face=""Verdana",sans-serif">DAMASCENO</span></b><span face=""Verdana",sans-serif">. Athos (1902-1975) <b>Artes plásticas no Rio Grande do Sul
(1755-1900)</b>. Porto Alegre: Globo, 1971, 520 p</span> </p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif" style="color: #212063; mso-bidi-font-family: "Arial Unicode MS"; mso-fareast-font-family: "Arial Unicode MS";"><a><b>SIMON</b>, <b>Cirio</b></a> - <b><i>Origens do Instituto de Artes da UFRGS:
etapas entre 1908-1962 e contribuições nas constituição de expressões de
autonomia dos sistema de artes visuais no Rio Grande do Sul</i></b> Porto
Alegre : Orientação KERN, Maria Lúcia Bastos .PUC - RS, 2003—570 p..<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif">Disponível digitalmente:<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif"><a href="https://lume.ufrgs.br/handle/10183/2632">https://lume.ufrgs.br/handle/10183/2632</a></span> </p>
<p align="center" class="MsoNormal" style="line-height: 115%;"><b><span face=""Arial Narrow",sans-serif">AUTONOMIA do ARTISTA e o seu
PERTENCIMENTO.<o:p></o:p></span></b></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif">BLOC ISTO é ARTE - POSTAGEM nº 066<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%;"><span face=""Arial Narrow",sans-serif"><a href="http://profciriosimon.blogspot.com.br/2013/05/004-expressoes-de-autonomia-na-arte.html">http://profciriosimon.blogspot.com.br/2013/05/004-expressoes-de-autonomia-na-arte.html</a></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%;"><span face=""Arial Narrow",sans-serif">Lei nº
173 de 10 de setembro de 1893<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif"><a href="https://www2.camara.leg.br/legin/fed/lei/1824-1899/lei-173-10-setembro-1893-540973-norma-pl.html">https://www2.camara.leg.br/legin/fed/lei/1824-1899/lei-173-10-setembro-1893-540973-norma-pl.html</a><o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif"> </span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif" style="mso-fareast-language: ZH-CN;">O
PENSAMENTO de OLYMPIO OLINTO de OLIVEIRA<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Narrow",sans-serif" style="mso-fareast-language: ZH-CN;">nas
ARTES do RIO GRANDE do SUL. 0-207 – ESTUDOS de ARTE<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><b><span face=""Arial Narrow",sans-serif" style="mso-fareast-language: ZH-CN;"><a href="http://profciriosimon.blogspot.com.br/2017/06/0-207-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/06/0-207-estudos-de-arte.htm</a></span></b></p>
<p align="center" class="MsoNormal" style="line-height: 115%; text-indent: -7.1pt;"><span face=""Arial Narrow",sans-serif">Imagem
“AO PREÇO FIXO”<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; text-indent: -7.1pt;"><span face=""Arial Narrow",sans-serif"><a href="https://pt.wikipedia.org/wiki/Ao_Pre%C3%A7o_Fixo">https://pt.wikipedia.org/wiki/Ao_Pre%C3%A7o_Fixo</a><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; text-indent: -7.1pt;"><span face=""Arial Narrow",sans-serif">+<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; text-indent: -7.1pt;"><span face=""Arial Narrow",sans-serif"><a href="https://www.flickr.com/photos/fotosantigasrs/11014513845">https://www.flickr.com/photos/fotosantigasrs/11014513845</a></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; text-indent: -7.1pt;"><span face=""Arial Narrow",sans-serif">FACE
BOOK<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; text-indent: -7.1pt;"><span face=""Arial Narrow",sans-serif"><a href="https://www.facebook.com/photo?fbid=1007923446323474&set=gm.2700499193501601">https://www.facebook.com/photo?fbid=1007923446323474&set=gm.2700499193501601</a></span></p></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxk9ikF3atz3Id0ngv-e6r5nZf6SZLxRc8P1O0TsBXW0uw7qL1vP9Pvt6gW_07rVS4NjlsclWTr9mYld-n3cSJ3bdwEtBO1pMyI3WCwCuMKDhxJ_oh-FUpU8MyONTdhXFMmK3PIUmkbsbl/s1929/04+-+CATALOGO+Da+EXPOSI%25C3%2587%25C3%2582O+de+1901.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1929" data-original-width="1527" height="559" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxk9ikF3atz3Id0ngv-e6r5nZf6SZLxRc8P1O0TsBXW0uw7qL1vP9Pvt6gW_07rVS4NjlsclWTr9mYld-n3cSJ3bdwEtBO1pMyI3WCwCuMKDhxJ_oh-FUpU8MyONTdhXFMmK3PIUmkbsbl/w366-h559/04+-+CATALOGO+Da+EXPOSI%25C3%2587%25C3%2582O+de+1901.jpg" width="366" /></a></div><div style="text-align: center;">Capa do Catálogo da EXPOSIÇÃO
de 1901em PORTO ALEGRE</div><o:p></o:p><p></p><div class="separator" style="clear: both; text-align: center;">
<p align="center" class="MsoNormal"><span face=""Arial",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"><span style="font-family: arial;">Fig.
04 <b> A iniciativa da INDÚSTRIA e do COMERCIO deram
oportunidade e espaço para o COMPARECIMENTO, EXPOSIÇÂO e PROFISSIONALIZAÇÂO dos
ARTISTAS VISUAIS do RIO GRANDE do SUL na sombra da JOVEM REPÚBLICA. </b>Estes artistas visuais, ao receber espaços
específicos, compareciam, expuseram, interagiam, foram premiados e venderam somando-se aos demais pavilhões da indústria e
comércio </span><o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Black", sans-serif" style="font-size: 16pt;">ARTISTAS VISUAIS SU</span><span face=""Arial",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"> </span><span face=""Arial Black", sans-serif" style="font-size: 16pt;">L-RIO-GRANDENSES:
<o:p></o:p></span></p>
<p align="center" class="MsoNormal"><span face=""Arial Black", sans-serif" style="font-size: 16pt;">na SOMBRA da JOVEM REPÚBLICA BRASILEIRA na DÈCADA de 1900</span></p>
<p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; text-align: justify; text-indent: 63.8pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">Na </span><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 115%;"> PRIMEIRA DÉCADA do SÉCULO
XX</span><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">
os ARTISTAS VISUAIS continuaram sob o SIGNO e SOMBRA da JOVEM REPUBLICA
BRASILEIRA<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; text-align: justify; text-indent: 63.8pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;"> Eles
COLHIAM</span><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 115%;"> </span><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">os frutos daquilo que haviam
plantado desde a proclamação e da instalação do REGIME REPUBLICANO na </span><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 115%;"> ÚLTIMA DÉCADA do SÉCULO XIX. A data do 15 de
novembro sempre foi a afirmação, referência e feriado para eventos do REGIME
REPUBLICANO. Como pano de fundo, este REGIME REPUBLICANO, estava na memória, nos
gestos e realizações do Rio Grande do Sul desde o 20 de setembro de 1835. Na
primeira década do século XX eram regidos pela Constituição do 14 de julho de
1891<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 115%;">A
memorável EXPOSIÇÃO COMERCIAL e INDUSTRIAL - realizada em Porto Alegre, entre
os dias 21 de fevereiro até 02 de julho de
1901 - abriu, com chave de ouro, o novo século no Rio Grande do Sul. As
ARTES VISUAIS estiveram </span><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%; mso-bidi-font-family: Arial;">presentes com <span style="background: white;">o pavilhão das
Belas Artes onde estavam expostos trabalhos de Ângelo FAEL, Francisco MARIA,
Virgilio CALEGARI, Otto SCHÖNWALD, Augusto AMARETTI, Jacinto FERREIRA, Romoaldo
PRATTI, Pedro WEINGÄRTNER entre outros </span>destina
a comemorar a CARTA MAGNA da REPUBLICA promulgada no dia 24 de fevereiro de
1891. Esta SALÃO de ARTES VISUAS ficou famosos pelo julgamento do pediatra
OLINTO de OLIVEIRA que achou que PEDRO WEINGÄRTNER já era um “ADULTO” na sua
ARTE e que as “CEINÇAS” iniciantes e pouco conhecidas, deveriam se estimuladas
e levar as MEDALHAS (Damasceno 1971, pp.429—444)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%; mso-bidi-font-family: Arial;">Nas Letras começou
a funcionar, no dia 01 de dezembro de 1901 a ACADEMIA
SUL-RIOGRANDENES de LETRAS nos moldes da ACADEMIA BRASILEIRA de LETRAS, também
do período republicano<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 115%;">A
fulgurante exposição de ARTES VISUAIS,
promovida pela GAZETA do Arthur Pinto da ROCHA reuniu entre 1º a 24 de
março de 1903 .</span><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%; mso-bidi-font-family: Arial;"> (Damasceno 1971,
pp.453-—490)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 115%;">Os
ânimos dos ARTISTAS VISUAIS ganharam um
apoio oficial ao longo do governo estadual de 1908 até 1913. Um dos primeiros
passos deste governo foi entrar na política das ARTES. CARLOS BARBOSA concretizou
este ingresso do ESTADO no campo das
ARTES por meio de uma INSTITIÇÃO fortemente apoiado pelo PODE EXECUTIVO e
LEGISLATIVO estadual. Valeu-se da experiência, tirocínio e anuência do médico
pediatra OLYMPIO OLINTO de OLIVEIRA Sob a sua dinâmica iniciativa ele nomeou,
constitui e recebeu o apoio 64 COMISSÔES REGIONAIS espalhadas em todo o
território do RIO GRANDE do SUL, Na COMISSÃO CENTRA da CAPITAL Convidou e recebeu anuência das mais
diferentes profissões superiores para constituir um PROJETO POR TEMPO
INDETERMINADO. Estes líderes reuniram-se no dia 22 de abril de 1908 para cimentar as bases do
INSTITUTO LIVRE da BELAS ARTES do RIO GRANDE do SUL. Esta instituição ganhou o
mundo prático com o CONSERVATÒRIO de MUSICA instalado JULHO de 1909 e a ESCOLA de ARTES no dia 10
de fevereiro de 1910<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 30.8pt; margin-top: 0cm; margin: 0cm 30.8pt 0cm 1cm; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 115%;">Na
primeira década do século XX URBANISMO
de PORTO ALGRE ganhou nova feição para se constituir na “SALA de VISITAS do RIO
GRANDE do SUL” na expressão de Margarete BAKOS, A ARQUITETURA renovou-se com o
início das obras do novo PALACIO do GOVERNO condigno com a “SOBERANIA do ESTADO
do RIO GRANDE do SUL confirme o decreto nº 01 da REPÚBLICA do dia 15 de
novembro de 1889. A ESCULTURA viu-se prestigiada e atualizadas pela encomenda
do MONUMENTO a JÙLIO de CASTILHOS, colocada na ACRÓPOLE da capital num praça
redesenhada e sob a nova titularidade do
MARECHAL DEODORO. <o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin: 0cm 30.8pt 0.0001pt 1cm;"><span face=""Arial Narrow", sans-serif"> </span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 1.0cm; margin-right: -7.05pt; margin-top: 0cm; margin: 0cm -7.05pt 0cm 1cm; text-indent: -7.05pt;"><b><span face=""Verdana",sans-serif">DAMASCENO</span></b><span face=""Verdana",sans-serif">. Athos (1902-1975) <b>Artes plásticas no Rio Grande do Sul
(1755-1900)</b>. Porto Alegre: Globo, 1971, 520 p<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin: 0cm -7.05pt 0.0001pt 1cm; text-indent: -7.05pt;"><o:p> </o:p></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin: 0cm -7.05pt 0.0001pt 1cm; text-indent: -7.05pt;">Álbum
da EXPOSIÇÂO ACRICILA MERCANTIL de 1901<o:p></o:p></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin: 0cm -7.05pt 0.0001pt 1cm; text-indent: -7.05pt;"><o:p> </o:p></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin: 0cm -7.05pt 0.0001pt 1cm; text-indent: -7.05pt;">ALEGRE
de 1901<o:p></o:p></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin: 0cm -7.05pt 0.0001pt 1cm; text-indent: -7.05pt;"><a href="https://pt.wikipedia.org/wiki/Exposi%C3%A7%C3%A3o_Agropecu%C3%A1ria_e_Industrial_do_Rio_Grande_do_Sul_de_1901">https://pt.wikipedia.org/wiki/Exposi%C3%A7%C3%A3o_Agropecu%C3%A1ria_e_Industrial_do_Rio_Grande_do_Sul_de_1901</a><o:p></o:p></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin: 0cm -7.05pt 0.0001pt 1cm; text-indent: -7.05pt;"><o:p> </o:p></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin: 0cm -7.05pt 0.0001pt 1cm; text-indent: -7.05pt;"><span face=""Arial Narrow", sans-serif">ACADEMIA SUL-RIOGRANDENES de LETRAS<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin: 0cm -7.05pt 0.0001pt 1cm; text-indent: -7.05pt;"><a href="https://pt.wikipedia.org/wiki/Academia_Rio-Grandense_de_Letras">https://pt.wikipedia.org/wiki/Academia_Rio-Grandense_de_Letras</a>
<o:p></o:p></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin: 0cm -7.05pt 0.0001pt 1cm; text-indent: -7.05pt;">DIPLOMA
da EXPOSIÇÂO AGRÍCOLA INDUSTRIAL de PORTA ALEGRE 1901<o:p></o:p></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin: 0cm -7.05pt 0.0001pt 1cm; text-indent: -7.05pt;"><a href="https://bdlb.bn.gov.br/acervo/handle/20.500.12156.3/39937">https://bdlb.bn.gov.br/acervo/handle/20.500.12156.3/39937</a> </p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin-left: 7.1pt;">FACE BOOK<o:p></o:p></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin-left: 7.1pt;"><span style="font-size: 11pt; line-height: 115%; mso-bidi-font-size: 12.0pt;"><a href="https://www.facebook.com/photo/?fbid=1008717836244035&set=gm.2701688760049311">https://www.facebook.com/photo/?fbid=1008717836244035&set=gm.2701688760049311</a><o:p></o:p></span></p></div><p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisQUPNu8o3cWtkVS8xEX6UHcUKwLLc7Vl0UnixACNJDauunnVUGF3_1m1qTzhiDCapFPTsH5Jhd5n36K3A4JOF0qCKh-QU2EQwTUp4osauAbIUtJrSymyqhM7mnhZaVcW8XAUqQsuyNgEz/s2048/05+-+Estudantes+da+Escola+de+Artes+no+atelier+de+Pintura+do+IBA-RS.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1385" data-original-width="2048" height="274" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisQUPNu8o3cWtkVS8xEX6UHcUKwLLc7Vl0UnixACNJDauunnVUGF3_1m1qTzhiDCapFPTsH5Jhd5n36K3A4JOF0qCKh-QU2EQwTUp4osauAbIUtJrSymyqhM7mnhZaVcW8XAUqQsuyNgEz/w412-h274/05+-+Estudantes+da+Escola+de+Artes+no+atelier+de+Pintura+do+IBA-RS.jpg" width="412" /></a></div><span style="color: #990000; font-family: arial;">Fig.
05 <b> A FORMAÇAO de um CORPO de AGENTES ESPECIALIZADOS
de ARTISTAS VISUAIS passa pela existência de INSTITUIÇÕES PERMANENTES e por
TEMPO INDETERTIMINADO. </b>A ESCOLA de ARTES do INSTITUTO de BELAS ARTES do RIO
GRANDE do SUL, apesar de sua FRAGILIDADE, das suas flagrantes deficiências e desvios
- oferecia um espaço público específico
e alguns docentes para garantir o processo. Em compensação trouxe para o seu
meio ARTISTAS VISUAIS de RENOME, que ela não podia remunerar, mas que não se
negavam a socializar, neste ambiente, as suas experiências. Permitiam luzes
para esta nova geração conhecer e avaliar, a partir de sua própria experiência,
o que este corpo externo poderia
contribuir para ampliar e consolidar, no Rio Grade do Sul, os artistas visuais
interagir, socializar, expor, ter
espaços específicos e formas de se sustentarem com a sua profissão e que os
visitantes já exerciam</span><div class="separator" style="clear: both; text-align: center;">
<p align="center" class="MsoNormal"><span face=""Arial Black", sans-serif" style="font-size: 18pt;">A FORMAÇÂO de um CORPO PERMANENTE de </span></p><p align="center" class="MsoNormal"><span face=""Arial Black", sans-serif" style="font-size: 18pt;">ARTISTAS VISUAIS na DÉCADA
de 1910</span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 1cm; mso-hyphenate: none; text-align: justify; text-indent: 63.8pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">A </span><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 115%;">SEGUNDA DÉCADA do SÉCULO XX assistiu a
FORMAÇÂO, em PORTO ALEGRE de um CORPO PERMANENTE de ARTISTAS VISUAIS e um LUGAR
PÙBLICO de encontros físicos, de referências e de trabalho coletivo</span><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;"> <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 1cm; mso-hyphenate: none; text-align: justify; text-indent: 63.8pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">A efetiva criação da ESCOLA
de ARTES, no dia 10 de fevereiro de 1910, que ainda continua em plena atividade
e expansão um século depois no DEPARTAMENTO de ARTES VISUAIS do INSTITUTO de
ARTES da UFRGS. Dotado de um corpo diretivo e docente ganhava, em 1915, um
espaço exclusivo e equipado para as práticas das ARTES VISUAIS. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 1cm; mso-hyphenate: none; text-align: justify; text-indent: 63.8pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">Por minúsculas e frágeis que
fossem estas duas iniciativas acopladas era uma semente com potencial de se
REPRODUZIR e RESISTIR por “TEMPO INDETERMINADO” Isto era possível por meio de
um projeto, por meio de contratos impessoais e por normas aceitas e praticadas.
<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 1cm; mso-hyphenate: none; text-align: justify; text-indent: 63.8pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;"> Na sua retaguarda estava o projeto e sombra da
jovem república brasileira cujo ÊXITO e TRIUNFO era sensível na IMPLANTAÇÃO
deste REGIME no RIO GRANDE do SUL.
Projeto entregue a personagens identificado pelo “GOSTO pela ARTE”
contornava as armadilhas da burocracia, do personalismo e do patrimonialismo
reducionistas<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 1cm; mso-hyphenate: none; text-align: justify; text-indent: 63.8pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">Para se ter uma ideia do que
era possível, entre 1910 e 1920 no Rio Grande do Sul, vale o RELATÓRIO de Olympio OLINTO de OLIVEIRA do
ano de 1912 onde ele escreveu em relação na ESCOLA de ARTE que</span></p>
<p class="MsoNormal" style="margin-left: 1cm; text-align: justify; text-indent: 27.05pt;"> <i><span face=""Verdana",sans-serif" style="color: #073763;"><b>No anno corrente os
cursos abriram-se a 15 de março, com 11 alumnos matriculados, sendo 5 do 1°
anno, 2 do anno e 4 do 3° anno.<o:p></o:p></b></span></i></p>
<p class="MsoNormal" style="margin-left: 1cm; text-align: justify; text-indent: 27.05pt;"><i><span face=""Verdana",sans-serif" style="color: #073763;"><b>Continúa
como professor dos três annos o Sr. Libindo Ferrás, que com o augmento das
horas de trabalho necessaias para attender a todos os cursos, passou a perceber
250$000 de honorarios.<o:p></o:p></b></span></i></p>
<p class="MsoNormal" style="margin-left: 1cm; text-align: justify; text-indent: 27.05pt;"><i><span face=""Verdana",sans-serif" style="color: #073763;"><b>Este
competente professor tem se mostrado incansavel na direcção do departamento que
lhe foi confiado, tanto mais quanto, não estando o Instituto em condições de
contractar outros artistas, em vista de numero reduzido de alumnos que procuram
esta escola, todo o trabalho de ensino technico propriamente recáe sobre
elle. No fim do anno passado apresentou
o professor Libindo uma modificação do seu programma, baseada na experiencia
adquirida, e nas condições especiaes do nosso meio. O novo programma já começou
a ser observado este anno.<o:p></o:p></b></span></i></p>
<p class="MsoNormal" style="margin-left: 1cm; text-align: justify; text-indent: 27.05pt;"><i><span face=""Verdana",sans-serif" style="color: #073763;"><b>Por
proposta do mesmo professor, encommendei para a Europa, em 1910, as seguintes
obras de gesso para servirem de modelo nas aulas:</b></span></i></p>
<p class="MsoNormal" style="margin-left: 1cm; text-align: justify; text-indent: 27.05pt;"><i><span face=""Verdana",sans-serif" style="color: #073763;"><b>Venus
de Milo (Louvre) – estatua inteira<o:p></o:p></b></span></i></p>
<p class="MsoNormal" style="margin-left: 1cm; text-align: justify; text-indent: 27.05pt;"><i><span face=""Verdana",sans-serif" style="color: #073763;"><b>Apollo
de Belvedere (Vaticano) – estatua inteira<o:p></o:p></b></span></i></p>
<p class="MsoNormal" style="margin-left: 1cm; text-align: justify; text-indent: 27.05pt;"><i><span face=""Verdana",sans-serif" style="color: #073763;"><b>Niobe
(Florença) – busto<o:p></o:p></b></span></i></p>
<p class="MsoNormal" style="margin-left: 1cm; text-align: justify; text-indent: 27.05pt;"><i><span face=""Verdana",sans-serif" lang="ES-TRAD" style="color: #073763; mso-ansi-language: ES-TRAD;"><b>Ájax (Roma)
– busto<o:p></o:p></b></span></i></p>
<p class="MsoNormal" style="margin-left: 1cm; text-align: justify; text-indent: 27.05pt;"><i><span face=""Verdana",sans-serif" style="color: #073763;"><b>Venus
(Acropole) – cabeça<o:p></o:p></b></span></i></p>
<p class="MsoNormal" style="margin-left: 1cm; text-align: justify; text-indent: 27.05pt;"><i><span face=""Verdana",sans-serif" style="color: #073763;"><b>Cabeça
de rapaz (Tarento) – cabeça<o:p></o:p></b></span></i></p>
<p class="MsoNormal" style="margin-left: 1cm; text-align: justify; text-indent: 27.05pt;"><i><span face=""Verdana",sans-serif" style="color: #073763;"><b>Duas
mãos e dous pés.</b></span></i></p>
<p class="MsoNormal" style="margin-left: 1cm; text-align: justify; text-indent: 27.05pt;"><i><span face=""Verdana",sans-serif" style="color: #073763;"><b>As
duas estatuas, copias do tamanho dos respectivos originaes, são magnificos
modelos de esculptura, perfeitamente reproduzidos, e que impressionam a quantos
tem occasião de contemplal-os. Os bustos
e cabeça são egualmente boas reproducções de arte antiga. Andou toda a despeza
com esta encommenda, inclusive despachos e armazenagem, em 1:333$850.<o:p></o:p></b></span></i></p>
<p class="MsoNormal" style="margin-left: 1cm; text-align: justify; text-indent: 27.05pt;"><i><span face=""Verdana",sans-serif" style="color: #073763;"><b>De
accordo ainda com o mesmo professor e com o intuito de iniciar a formação da
galeria de pintura desta Escola, autorisei-o no começo deste anno, por occasião
da exposição do pintor brazileiro A.
Parreiras, a adquirir uma das telas do mesmo. Foi escolhido o quadro intitulado
Christo, cedido pelo autor pela quantia de 700$000 rs. Na mesa occasião também
foi adquirido um primoroso quadro do pintor hespanhol Barbazan, Crepúsculo,
pela somma de 900$000 rs. Auxiliou-nos gentilmente na escolha destas telas o
Sr. Carlos Torelly, distincto artista patricio aqui residente. Seria de grande vantagem para a difusão do
gosto pela verdadeira arte, e para a educação artistica do publico, que o Instituto
continuasse, na medida de suas forças, a formar as suas galerias de pintura e
de esculptura, adquirindo boas copias de gesso, copias de obras typicas da arte
classica de pintura, e telas originaes modernas, entre as quaes algumas das de
P. Weingärtner, A. Freitas (rio-grandenses) e outros artistas nacionaes.<o:p></o:p></b></span></i></p>
<p class="MsoNormal" style="margin-left: 1cm; text-align: justify; text-indent: 27.05pt;"><i><span face=""Verdana",sans-serif"><span style="color: #073763;"><b>Na
mesma ordem de idéas cogito já há tempos de levar a effeito uma exposição de
pintura exclusivamente com elementos já existentes no Rio Grande. Penso que
poderia reunir uns 60 quadros de mestre, entre os quaes alguns de não pequeno
valor.</b></span><o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 1cm; mso-hyphenate: none; text-align: justify; text-indent: 63.8pt;"><span face=""Verdana",sans-serif" style="background: white; color: #333333; font-size: 14pt; line-height: 115%; mso-bidi-font-family: "Lucida Sans Unicode";">Nesta instituição desfilaram, ao longo da
segunda década do século XX, os diversos artistas já consagrados para
constituírem bancas externas dos estudantes ali matriculados. Além disto, ao longo da I GUERRA MUNDIAL, uma série de
artistas da capital federal vieram ao Rio Grande do Sul. O seu ponto de
encontra era na ESCOALA de ARTES do IBA-RS <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 1.0cm; margin-right: 0cm; margin-top: 0cm; margin: 0cm 0cm 6pt 1cm; text-align: justify; text-indent: 63.8pt;"><span face=""Verdana",sans-serif" style="background: white; color: #333333; font-size: 14pt; mso-bidi-font-family: "Lucida Sans Unicode";">A par disto acontecem
alguns ensaios de congraçamento entre ARTISTAS VISUAIS e o seu PÚBLICO.</span><span face=""Verdana",sans-serif" style="font-size: 14pt;"> É possível entrever
o círculo de amizades de Pedro Weingärtner
no registro de Doberstein (1999,
fl. 91) “<i><span style="color: #073763;">em novembro de 1913, no salão
nobre do Correio do Povo formou-se o Centro Artístico, uma associação que tinha
por finalidade ‘desenvolver o gosto pelas artes ’em nosso meio. Estavam
presentes na reunião de formação os senhores Victor Silva, Benjamin Flores,
Emílio Kemp, Mansueto Bernardi, Leonardo Truda, Raul Totta, Pedro Weingärtner,
Dr. Fábio Barros, Irineu Trajano Lima, Lauro de Oliveira e Dr. Mario Totta”</span></i>.
Esse Centro de Artes promoveu uma exposição de Weingärtner, que vendeu quinze
das trinta e três obras oferecidas, segundo as pesquisas de Doberstein. É de
supor que aqueles que adquiriram essas obras pertenciam a esse Centro. Mansueto
Bernardi, Leonardo Truda, Fábio de Barros e Mário Totta eram na época, ou serão
depois, membros ativos da CC-ILBA-RS<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 1cm; mso-hyphenate: none; text-align: justify; text-indent: 63.8pt;"><span face=""Verdana",sans-serif" style="background: white; color: #333333; font-size: 14pt; line-height: 115%; mso-bidi-font-family: "Lucida Sans Unicode";">Fora destes círculos as formas de PERTENCIMENTO
e SOCIALIZAÇÃO davam-se, ao longo da segunda década do século XX, via TRABALHO
COLETIVO em prédios públicos e particulares, em oficinas de escultura, de pintura, de serralheria e de estetização
de ambientes externos e internos de prédios. Disto são testemunha as pesquisa de Arnoldo W DOBERSTEI
e diversas monografias e livros<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 1cm;"><b><span face=""Arial",sans-serif" style="font-size: 10pt;">DOBERSTEIN</span></b><span face=""Arial",sans-serif" style="font-size: 10pt;">, Arnoldo Walter. <b>Porto Alegre 1900-1920: estatuária e
ideologia</b>.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 1cm;"><span face=""Arial",sans-serif" style="font-size: 10pt;">
Porto Alegre : Secretaria Municipal de Cultura, 1992, 102 p. il.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 1cm; text-align: justify;"><b><span face=""Arial",sans-serif" style="font-size: 10pt;">____________. Porto
Alegre(1898-1920): estatuária fachadista e <o:p></o:p></span></b></p>
<p class="MsoNormal" style="margin-left: 1cm; text-align: justify;"><b><span face=""Arial",sans-serif" style="font-size: 10pt;"> monumental,
ideologia e sociedade. </span></b><span face=""Arial",sans-serif" style="font-size: 10pt;">Porto Alegre : PUC-IFCH, 1988, Dissert 208 f..<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 1cm; text-align: justify; text-indent: -21.3pt;"><span face=""Arial",sans-serif" style="font-size: 10pt;">_____________.
<b>Rio Grande do Sul (1920-1940): estatuária,
catolicismo e gauchismo</b>. Porto Alegre : PUC-Faculdade de Filosofia e
Ciências Humanas, 1999, Tese 377 f. </span></p>
<p class="MsoNormal" style="margin-left: 1cm; text-align: justify; text-indent: -21.3pt;"><b><span face=""Arial",sans-serif" style="font-size: 10pt;">MESSELE-WIESER, </span></b><span face=""Arial",sans-serif" style="font-size: 10pt;">Sandra <b> <i>BRASIL: FERDINAND SCHATTER: o pintor de
Lindau no Rio Grande do Sul</i> </b>Würtburg: Mediabarung 2013, 152 p. ISBN
978-3-88-394-5<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 1cm; mso-hyphenate: none; text-align: justify; text-indent: -21.3pt;"><span face=""Arial",sans-serif" style="font-size: 10pt; line-height: 115%;"><span style="color: blue;"><a href="http://www.thalia.de/shop/home/artikeldetails/brasilien_brasil/sandra_messele_wiese/ISBN3-88778-394-8/ID37137081.html">http://www.thalia.de/shop/home/artikeldetails/brasilien_brasil/sandra_messele_wiese/ISBN3-88778-394-8/ID37137081.html</a></span></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 1cm; mso-hyphenate: none; text-align: justify; text-indent: -21.3pt;"><b><span face=""Arial",sans-serif" style="background: white; color: #333333; font-size: 10pt; line-height: 115%;">OLINTO de OLIVEIRIA, Olympio </span></b><span face=""Arial",sans-serif" style="background: white; color: #333333; font-size: 10pt; line-height: 115%;">(1866-1956) <b><i>Relatórios de 1909-1912 do
INSTITIUTO de BELAS ARTES do Rio Grande do Sul</i></b>. Porto Alegre; Oficinas
Gráficas da Livraria do Globo- 1912</span></p>
<p align="center" class="MsoNormal" style="margin-left: 1cm;"><span face=""Arial Narrow",sans-serif">KARL FERDINAND SCHLATTER
(1870-1949). ISTO é ARTE nº 88 –<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin-left: 1cm;"><span face=""Arial Narrow",sans-serif"><span style="color: blue;"><a href="http://profciriosimon.blogspot.com.br/2014/06/88-isto-e-arte.html">http://profciriosimon.blogspot.com.br/2014/06/88-isto-e-arte.html</a></span></span> </p>
<p align="center" class="MsoNormal" style="margin-left: 1cm;"><span face=""Arial Narrow",sans-serif">FACE BOOK<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin-left: 1cm;"><a href="https://www.facebook.com/photo/?fbid=1009447846171034&set=gm.2702495323301988"><span style="color: blue;">https://www.facebook.com/photo/?fbid=1009447846171034&set=gm.2702495323301988</span></a><span face=""Arial Narrow",sans-serif"><o:p></o:p></span></p></div><p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8uwac5LFDTddyhttQgU1Vqlh4TgKdcI-k_bnuequw1I0a0djugwPYbxhe_BLQZbSPMuFoRjMQwc0s-1tPeXpWgMYBE5JUBaLfoijdkUr0tNYAvWYQFgVK_sf64kxiUy5LCtd1fJQROfWc/s2000/06+++Prparando++o+BAILE+de+CARNAVAL+1925++b.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1564" data-original-width="2000" height="350" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8uwac5LFDTddyhttQgU1Vqlh4TgKdcI-k_bnuequw1I0a0djugwPYbxhe_BLQZbSPMuFoRjMQwc0s-1tPeXpWgMYBE5JUBaLfoijdkUr0tNYAvWYQFgVK_sf64kxiUy5LCtd1fJQROfWc/w390-h350/06+++Prparando++o+BAILE+de+CARNAVAL+1925++b.jpg" width="390" /></a></div>F<span style="color: #990000; font-family: arial;">ig.
06 <b> A motivação coletiva de uma BAILE do CARNAVAL
em Porto Alegre, no inicio do ano de 1925 ,deflagrou um centelha de uma
identidade entre os ARTISTAS VISUAIS envolvidos. Baile preparado e realizado no
Theatro “REPÚBLICA” e sob o pretexto da “PHILOSOFPHIA” era monitorado pelo
“GRUPO dos 13” que se reunia o BAR BINTER e de lá para os SALÔES NOBRES da
PREFEITURA de PORTO ALEGRE para o SALÂO de OUTONO de 1925. </b>Este movimento não foi suficiente para
gerara uma ASSOCIAÇÂO por TEMPO INDETERMINADO, não teve forças para realizar o
II SALÂO de OUTONO e nem os BAILES de CARNAVAL da “PHILOSOPHIA”. No entanto e
experimento focou na memória da cidade, nos registros fotográficos e impressos
e um desafio para as novas gerações dos artistas visuais interagir, comparecer,
expor em espaços específicos e buscar
formas, de se profissionalizar e viver de sua arte.</span><span style="color: #990000; font-family: arial; font-size: 18pt; text-align: center;"> </span><div class="separator" style="clear: both; text-align: center;">
<p align="center" class="MsoNormal"><span face=""Arial Black", sans-serif" style="font-size: 18pt;">Ensaio de AUTONOMIA dos ARTISTAS VISUAIS e MOMENTOS de CONGRAÇAMENTO na DÉCADA de 1920<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; margin: 0cm 1cm; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif"> </span><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">A TERCEIRA DÉCADA do SÉCULO XX assistiu
a vários MOMENTOS de ensaios e expressões de AUTONOMIA e de CONGRASSAMENTO dos ARTISTAS
VISUAIS no Rio Grande do Sul<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; margin: 0cm 1cm; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;"> Um dos eventos mais marcantes foi o SALÃO de
OUTONO de 1925 de Porto Alegre. Este evento resultou de uma intensa
movimentação coletiva dos ARTISTAS VISUAIS que PRODUZIAM individualmente nos
seus ateliers e residências, sem que se conhecessem os resultados e as obras
destas pesquisas solitárias.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; margin: 0cm 1cm; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">A emoção desta
descoberta permaneceu com Fernando Corona um dos mais ativos participantes
deste movimento coletivo e ele registrou no seu diário (1925, fls.227-228)
que <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-bottom: 6.0pt; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; margin: 0cm 1cm 6pt; text-align: justify;"><span face=""Verdana",sans-serif" style="color: #073763; font-size: 14pt; line-height: 115%;">”<i>numa tarde memorável do mês de maio de 1925 era inaugurado o “Salão de
Outono” com mais de trezentos trabalhos de pintura, desenho, escultura e arte
decorativa. –Havia no Rio Grande do Sul mais artistas do que imaginávamos e foi
para todos nós uma surpresa agradável.<o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-bottom: 6.0pt; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; margin: 0cm 1cm 6pt; text-align: justify;"><i><span face=""Verdana",sans-serif" style="color: #073763; font-size: 14pt; line-height: 115%;"> Era a primeira vez que havia em Porto Alegre um
movimento coletivo dessa natureza. A nossa Escola de Artes era bastante
precária com apenas dois ou três professores a lecionar. O ambiente não era
favorável e o único pintor com algum sucesso era Libindo Ferraz, apenas
paisagista. Augusto Luiz de Freitas tinha vindo de Roma trazer para o Palácio
do Governo dois ou três quadros históricos, ou por essa época ele levaria a
encomenda, não tenho certeza. Afonso Silva era apenas paisagista fazendo
exposições individuais como Libindo e nada mais. Em escultura havia muito
menos. A não ser uma exposição de Pinto do Couto, interessado no monumento ao
Senador Pinheiro Machado e a vinda de Eduardo de Sá para fazer o monumento ao
Barão de Santo Ângelo, nada mais havia. A primeira exposição de escultura
realizada em Porto Alegre foi a de Jesus Maria Corona, meu pai, com bustos de
Silveira Martins, Pinheiro Machado, General Bento Gonçalves, Cav. Virgilio
Calegari relevos de Mario Cinco Paus e do Cônsul italiano Venerini.<o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 115%; margin-bottom: 6.0pt; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; margin: 0cm 1cm 6pt; text-align: justify;"><i><span face=""Verdana",sans-serif" style="color: #073763; font-size: 14pt; line-height: 115%;"> Se o Salão de Autores não primou pela qualidade
em pintura e escultura devido à grande mistura entre profissionais e amadores,
sua realização marcou um momento histórico nas Artes Plásticas no Rio Grande do
Sul. Despertou sem duvida talento adormecidos num meio um tanto refratário ou
quem sabe lá inocente em conhecimentos de artes visuais.</span></i><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; margin: 0cm 1cm; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">Os bastidores da
formação deste coletivo de ARTISTAS VISUAIS em Porto Alegre foi registrado de
forma bem pessoal por Fernando Corona no seu Diário no ano anterior (1924, fls
224-225) onde consta: <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 6.0pt; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; margin: 0cm 1cm 6pt; text-align: justify; text-indent: 70.85pt;"><span face=""Verdana",sans-serif" style="color: #073763; font-size: 14pt; line-height: 150%;">“<i>eu havia modelado a cabeça de João Sant’ana
e a máscara “Fauno Brasileiro” que era o retrato de Helios Seelinger. Fiz uma
porção de desenho pensando expô-los no próximo Salão de Outono. Este salão de
arte foi crescendo nas tertúlias do Bar Binter. Nosso entusiasmo era bom e
eficaz. Cada um dava uma opinião até
chegarmos a conclusões positivas. O salão não distribuiria prêmios e não
haveria seleção de valores. Podiam participar inclusive amadores. Como era a
primeira iniciativa em nosso meio, achamos mais conveniente saber quantos
éramos profissionais e quantos amadores. Escolhemos o jornalista Alfredo Guimarães
para fazer a cobertura do salão, pedindo a ele que não fosse exigente com os
aficionados. Quanto aos profissionais podia escrever o que bem entendesse, sem
ferir susceptibilidade. Durante meses trabalhamos na confecção de cartazes e
ampla publicidade nos jornais. Como em Porto Alegre não havia um salão no
centro da cidade, conseguimos a Sala de Honor da Prefeitura Municipal. Tudo foi
programado com antecedência pois era uma experiência inédita em o nosso meio. <o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 6.0pt; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; margin: 0cm 1cm 6pt; text-align: justify; text-indent: 21.25pt;"><i><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;"><span style="color: #073763;"> Em
tempo eu modelei em barro a capa do catalogo. Tratava-se de um pórtico barroco,
rico, com figuras simbólicas. Assim, a capa seria uma reminiscência da arte brasileira tradicional sem que
tivesse outro objetivo a não ser a fotografia e o cliché fotogravado”.</span><o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 6.0pt; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; margin: 0cm 1cm 6pt; text-align: justify; text-indent: 1cm;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;">O
Salão de Outono de 1925 foi fruto de uma associação efêmera, que nasceu dos
preparativos do baile de carnaval da
Sociedade de Filosofia (Scarinci, 1982: 35) e que se tentou institucionalizar
(Revista Máscara, ano VII, n<sup>o</sup> 7, jun 1925). Nesta associação estavam
vários membros do ILBA-RS como Fábio Barros e Manuel André da Rocha, além de
professores da época do Instituto, como Pelichek, ou futuros, como Fernando
Corona. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; margin: 0cm 1cm; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">Este grupo tentou
institucionalizar-se numa associação. No entanto ainda não era hora para grupos
autônomos constituir-se por TEMPO INDETERMINADO.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; margin: 0cm 1cm; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">A década de 1920,
em Porto Alegre, deu lugar para vivos protestos contra o REGIME REPUBLICANO.
Este TRANFORMOU-<u>SE</u> rapidamente na VELHA REPUBLICA macaqueando o REGIME MONÁRQUICO. Retornaram privilégios e
títulos transfigurados nominalmente que na essência continuou o triste cortejo
DECAIDO.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; margin: 0cm 1cm; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="line-height: 150%;"><span style="font-size: 14pt;">Esta insatisfação, com esta corrupção, foi expressa, em
1926, pelos articulistas da revista </span><span style="font-size: 14pt; font-style: italic;">Madrugada</span><a href="file:///C:/Users/Cirio/Documents/06%20%20-%20ARTE%20blog/288%20-%20UM%20SECULO%20de%20ASSOCIA%C3%87OES%20de%20ARTISTA%20VISUASI%20do%20RIO%20GRABDE%20do%20SUL/0-01%20%20UM%20SECULO%20de%20ASSOCIA%C3%87OES%20de%20ARTISTA%20VISUASI%20do%20RIO%20GRABDE%20do%20SUL.doc#_ftn1" name="_ftnref1" title=""><sup><!--[if !supportFootnotes]--><sup><span style="font-size: xx-small;">[1]</span></sup><!--[endif]--></sup></a><span style="font-size: 14pt;">
que escreveram:<o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; margin: 0cm 1cm; text-align: justify; text-indent: 70.9pt;"><i><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 150%;"> <span style="color: #073763;">“a mudança do regime monárquico foi apenas,
entre nós, uma substituição de accento grave por agudo, na personagem
governativa, o que vale dizer uma pura questão gramatical.....passamos do
governo dos reis ao império dos reis, entidades perfeitamente concretas, bem
soantes, amadas e poderosas....Sucedendo à aristocracia complicada dos brasões
com Coroa, os aristocratas do dinheiro formam um núcleo de cabeças ocas e
barrigas fartas enchendo as ruas das mesmíssimas carruagens doiradas e vistosas
nas quais os condes de antanho descansavam a indiscutível nobreza dos seus
assentos’”.</span><o:p></o:p></span></i></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; margin: 0cm 1cm; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;"> Esta frustração - com as peregrinas virtudes
prometidas pela JOVEM REPÚBLICA - levou
estes atores a buscar argumentos e ações
opostas a esta corrupção. No entanto nenhum destes articulistas, da REVISTA
MADRUGADA, chegou ao NÚCLEO deste sistema CENTRAL BRASILEIRO. No seu lugar
surgiram outros grupos, mais treinados e vividos, que efetivaram a conquista do
PODER CENTRAL do BRASIL. A parte visível e sonora deste movimento foi a REVOLUÇÃO
de 1930 e a contra REVOLUÇÃO CONSTITUCIONALISTA de 1932.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; margin: 0cm 1cm; text-align: justify; text-indent: 2cm;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">Os artistas visuais
perceberam, no meio destas lutas pelo PODER POLÌÍTICO, novos espaços para se
comunicarem, organizarem e constituir outras formas de PERTENCIMENTO e
CONGRASSAMENTO dos ARTISTAS VISUAIS SUL-RIO-GRANDENSES ensaio de e MOMENTOS de.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; margin: 0cm 1cm; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;"> A década seguinte, a de 1930, foi muito rica
nestes ensaios de AUTONOMIA dos ARTISTAS VISUAIS apesar do severo controle do
ESTADO NACIONAL e o seu INTERVECIONISMO nas SOBERANIAS dos ESTADS FEDERADOS.
Contudo neste mesmo argumento do CENTRALISMO e ARBÍTRIO do ESTADO NACIONAL valeu
sempre a essência do Decreto 170 de 10 de setembro de 1893.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; margin: 0cm 1cm; text-align: justify; text-indent: 78pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">As ASSOCIAÇÕES de
ARTISTAS VISUAIS ganharam impulso, na
quarta década do século XX, apesar das ecléticas e frouxas visões estéticas do
ESTADO NACIONAL. Movido pelos ARGUMENTOS POPULISTAS em voga no BRASIL como em
todo mundo, estruturou na sua feição aa VIDA SINDICAL NACIONAL Esta janela
legal foi aproveitada pelos ARTISTAS VISUAIS se articularem ao seu modo.<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; margin: 0cm 1cm; text-align: justify;"><b><span face=""Arial",sans-serif">Revista
Madrugada</span></b><i><span face=""Arial",sans-serif"> </span></i><span face=""Arial",sans-serif">Porto Alegre, ano 1, <b>nº
5.</b> Dia 04 de Dezembro 1926 (sem paginação).<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; margin: 0cm 1cm; text-align: justify;"><b><span face=""Arial",sans-serif"> </span></b></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; margin: 0cm 1cm; text-align: justify;"><b><span face=""Arial",sans-serif">Revista
MÁSCARA.</span></b><span face=""Arial",sans-serif"> Porto
Alegre, Ano 7, Nº 7, jun. 1925 – Salão
de Outono<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; margin: 0cm 1cm; text-align: justify;"><span face=""Arial",sans-serif"> </span></p>
<p class="MsoNormal" style="margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; margin: 0cm 1cm;"><b><span face=""Arial",sans-serif">SCARINCI</span></b><span face=""Arial",sans-serif">, Carlos. <b>A gravura no Rio Grande do Sul (1900-1982)</b>. Porto Alegre : Mercado Aberto, 1982, </span><span face=""Arial",sans-serif" lang="ES-TRAD" style="mso-ansi-language: ES-TRAD;">224
p. il. Color<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; margin: 0cm 1cm; mso-hyphenate: none; text-align: justify;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;"> </span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin: 0cm 1cm 0.0001pt;"><b><span face=""Arial Narrow",sans-serif">AUTONOMIA do ARTISTA e o seu
PERTENCIMETO.<o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="margin: 0cm 1cm 0.0001pt;"><b><span face=""Arial Narrow",sans-serif">BLOG
ISTO é ARTE POSTAGEM nº 066<o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="margin: 0cm 1cm 0.0001pt;"><span face=""Arial Narrow",sans-serif"><a href="http://profciriosimon.blogspot.com.br/2013/05/004-expressoes-de-autonomia-na-arte.html"><span style="color: blue;">http://profciriosimon.blogspot.com.br/2013/05/004-expressoes-de-autonomia-na-arte.html</span></a><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin: 0cm 1cm 0.0001pt;"><span face=""Arial Narrow",sans-serif"> </span></p>
<p align="center" class="MsoNormal" style="margin: 0cm 1cm 0.0001pt;"><span face=""Arial Narrow",sans-serif">FACE BOOK<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin: 0cm 1cm 0.0001pt;"><span face=""Arial Narrow",sans-serif" style="font-size: 11pt; mso-bidi-font-size: 12.0pt;"><a href="https://www.facebook.com/photo?fbid=1010341539414998&set=gm.2703436243207896"><span style="color: blue;">https://www.facebook.com/photo?fbid=1010341539414998&set=gm.2703436243207896</span></a></span><span face=""Arial Narrow",sans-serif"><o:p></o:p></span></p>
<div><!--[if !supportFootnotes]--><br clear="all" />
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<div id="ftn1">
<p class="MsoFootnoteText" style="margin-bottom: 6pt; text-align: justify;"><a href="file:///C:/Users/Cirio/Documents/06%20%20-%20ARTE%20blog/288%20-%20UM%20SECULO%20de%20ASSOCIA%C3%87OES%20de%20ARTISTA%20VISUASI%20do%20RIO%20GRABDE%20do%20SUL/0-01%20%20UM%20SECULO%20de%20ASSOCIA%C3%87OES%20de%20ARTISTA%20VISUASI%20do%20RIO%20GRABDE%20do%20SUL.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span style="font-size: 8pt; mso-bidi-font-size: 10.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman",serif; font-size: 8pt; mso-ansi-language: PT-BR; mso-bidi-font-size: 10.0pt; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: PT-BR;">[1]</span></span><!--[endif]--></span></span></a><span style="font-size: 8pt; mso-bidi-font-size: 10.0pt;"> Revista <i>Madrugada
</i>Porto Alegre, ano 1, <b>nº 5.</b> Dia
04 de Dezembro 1926 (sem paginação).<o:p></o:p></span></p>
</div>
</div></div><p align="center" class="MsoNormal" style="text-align: center;"></p><div class="separator" style="clear: both; color: #c00000; font-family: Arial, sans-serif; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDh__O54X9c7T7N9KPLOsh519gCoqG6_MxUwWwhuFoMNv1tizmNZG6fHwaRCol5iBuIQl4oAMGDMUSqHKwlypLBcTIRZ5S2phX3qa9Pu4megywlM3GHLJNxwHXRHZ8Dw6DeoIfH1meEgCT/s2048/07++SETEMBRO+de+2020++SOCIALIZAR+e+PROFISSIONALIZARARTISTA.revis%25C3%25A3o+semanal.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1792" height="692" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDh__O54X9c7T7N9KPLOsh519gCoqG6_MxUwWwhuFoMNv1tizmNZG6fHwaRCol5iBuIQl4oAMGDMUSqHKwlypLBcTIRZ5S2phX3qa9Pu4megywlM3GHLJNxwHXRHZ8Dw6DeoIfH1meEgCT/w400-h692/07++SETEMBRO+de+2020++SOCIALIZAR+e+PROFISSIONALIZARARTISTA.revis%25C3%25A3o+semanal.jpg" width="400" /></a></div><span face="Arial, sans-serif" style="color: #c00000;">Fig.
07 </span><b style="color: #c00000; font-family: Arial, sans-serif;"> A imagem busca uma síntese provisória das
questões que precedem, envolvem e motivam o PERTENCIMENTO, a SOCIALIZAÇÃO e a PROFSSIONALIZAÇÂO
dos ARTISTAS VISUAIS. </b><span face="Arial, sans-serif" style="color: #c00000;">No entanto é
necessário entender o que foi possível no Rio Grade do Sul para, os artistas
visuais interagir, comparecer, expor em espaços específicos e comercializar as
suas obras </span><div class="separator" style="clear: both; text-align: center;">
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; margin: 0cm 1cm; text-align: justify; text-indent: 2cm;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">De mesma forma como
não houve constância, solidez e formas de PERTENCIMENTO, SOCIALIZAÇÃO e
PROFISSIONALIZAÇÃO do ARTISTAS VISUIAS do RIO GRANDE do SUL também as
NECESSIDADES BÁSICAS HUMANAS também eram FRAGEIS, INSEGURAS e DESEQUILIBADAS. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; margin: 0cm 1cm; text-align: justify; text-indent: 2cm;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">No entanto não
faltaram, aos ARTISTAS VISUAIS SUL-RIO-GRANDENSES, MOMENTOS de CONGRASSAMENTO,
de PERTENCIMENTO onde perceberam novos espaços para se comunicarem, organizarem
e constituir outras formas para destas iniciativas como é visível no quadro
acima, <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0cm; margin-left: 1.0cm; margin-right: 1.0cm; margin-top: 0cm; margin: 0cm 1cm; text-align: justify; text-indent: 70.9pt;"><span face="Verdana, sans-serif" style="font-size: 14pt; line-height: 150%;">Na essência
experimentaram as amplas competências do Decreto nº 170 de 10 de setembro de
1893 para dar um primeiro impulso para
as ASSOCIAÇÕES de ARTISTAS VISUAIS Esta
janela legal foi aproveitada pelos ARTISTAS VISUAIS se articularem ao seu modo.<o:p></o:p></span></p></div><p align="center" class="MsoNormal" style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><span style="margin-left: 1em; margin-right: 1em;"><a href="https://pt.wikipedia.org/wiki/Ficheiro:PORTO_ALEGRE_-_Confeitaria_Rocco_-_banquete.jpg"><img border="0" data-original-height="733" data-original-width="1268" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVo_XDTv0qU2d7_d_2SUdVjjpfAlMalc79A8TR7z4oreC6WZX1AHa2bssfoRhQZJ9hgTyCj254Ite4np8T8HFsR_ev6xgf35NgHyLvndRvM8WiGpuYrEg4BX-GTvGpkG1DA-j_UR3bHvD0/w414-h227/08+-+PORTO_ALEGRE_-_Confeitaria_Rocco_-_banquete.jpg" width="414" /></a></span></div><a href="https://pt.wikipedia.org/wiki/Ficheiro:PORTO_ALEGRE_-_Confeitaria_Rocco_-_banquete.jpg"><br />https://pt.wikipedia.org/wiki/Ficheiro:PORTO_ALEGRE_-_Confeitaria_Rocco_-_banquete.jpg</a><span face=""Arial",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"><o:p></o:p></span><p style="text-align: left;"></p><div class="separator" style="clear: both; text-align: center;">
<p align="center" class="MsoNormal"><a href="https://pt.wikipedia.org/wiki/Confeitaria_Rocco">https://pt.wikipedia.org/wiki/Confeitaria_Rocco</a></p>
<p align="center" class="MsoNormal"><span face=""Arial",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;">Fig.
08 <b> A SOCIALIZAÇÃO, o PERTENCIMENTO e a
PROFISSIONALIZAÇÂO dos ARTISTAS VISUAIS SUL-RIO-GRANDENSES deu-se no contexto
de uma SOCIEDADE que possui os seus momentos culminantes e celebrações em
CLUBES, ASSOCIAÇÔES e na PROLIFERAÇÂO de ambientes como a CONFEITARIA
ROCCO </b>No Rio Grade do Sul este modo
de vivências pessoais e de interação direta passaram a ser mediadas pelas
formas industriais do CINEMA, dos TIMES de FUTEBOL e mediados pelo tem e depois
pelo automóvel individual com deslocamentos ao campo e depois ao litoral. Os
ARISTAS VISUAIS tiveram de acompanhar este processo e criar outros formas de PROFISSIONALIZAÇÂO, de PERTENCIMENTO e
de SOCIALIZAÇÃO de sua OBRAS <o:p></o:p></span></p></div><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji2UH57GhCiNfjP_hUax5a27GQaM0Dt8trJTbk7AS6MOoYNQGltojpDLYfbG3C34ydR3v-ahPXx-goZskbsF6qaK9t8ZORb-LfBrKsgLBel4ft1_w8dzPmhYotDZt33_mFkq7aF3wlkVeI/s221/09++-+CREATIVE+COMMONS.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="49" data-original-width="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji2UH57GhCiNfjP_hUax5a27GQaM0Dt8trJTbk7AS6MOoYNQGltojpDLYfbG3C34ydR3v-ahPXx-goZskbsF6qaK9t8ZORb-LfBrKsgLBel4ft1_w8dzPmhYotDZt33_mFkq7aF3wlkVeI/s0/09++-+CREATIVE+COMMONS.jpg" /></a></div><br /><p></p><p align="center" class="MsoNormal" style="margin-left: -11.7pt; mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span face=""Arial Narrow",sans-serif" style="color: #c00000; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">Este
material possui uso restrito ao apoio do processo continuado de ensino-aprendizagem</span><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin-left: -11.7pt; mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span face=""Arial Narrow",sans-serif" style="color: #c00000; font-size: 11pt; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">Não há pretensão de lucro ou de apoio
financeiro nem ao autor e nem aos seus eventuais usuários</span><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin-left: -11.7pt; mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span face=""Arial Narrow",sans-serif" style="color: #c00000; font-size: 11pt; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">Este material é editado e divulgado
em língua nacional brasileira e respeita a formação histórica deste idioma.</span><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
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</span></span><span style="mso-fareast-language: ZH-CN;"><a href="http://creativecommons.org/licenses/by/3.0/"><span face=""Arial Narrow",sans-serif" style="color: navy; font-size: 9pt; mso-bidi-font-family: "Arial Narrow";">http://creativecommons.org/licenses/by/3.0/</span></a></span><span face=""Arial Narrow",sans-serif" style="font-size: 9pt; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span face=""Arial Narrow",sans-serif" style="font-size: 9pt; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p> </o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">ASSISTÊNCIA TÉCNICA e DIGITAL de<span style="mso-spacerun: yes;"> </span>CÌRIO JOSÉ SIMON</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="https://www.facebook.com/photo.php?fbid=10205784875074212&set=a.1709833538793.2091031.1026728341&type=1&theater"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="color: navy; mso-bidi-font-family: "Arial Narrow";">https://www.facebook.com/photo.php?fbid=10205784875074212&set=a.1709833538793.2091031.1026728341&type=1&theater</span></b></a></span><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p> </o:p></span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">Referências para Círio SIMON</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">E-MAIL</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="mailto:prof.cirio.simon@gmail.com"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" lang="ES" style="background: white; color: #1155cc; mso-ansi-language: ES; mso-bidi-font-family: "Arial Narrow"; mso-font-kerning: 1.0pt;">prof.cirio.simon@gmail.com</span></b></a></span><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" lang="ES" style="mso-ansi-language: ES; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></b></p>
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<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="http://www.lume.ufrgs.br/handle/10183/1445"><span face=""Segoe UI",sans-serif" style="color: blue; font-size: 10pt;">http://www.lume.ufrgs.br/handle/10183/1445</span></a></span><span face=""Segoe UI",sans-serif" style="color: black; font-size: 10pt; mso-fareast-language: ZH-CN;"> </span><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span face=""Segoe UI",sans-serif" style="color: black; mso-bidi-font-size: 10.0pt; mso-fareast-language: ZH-CN;">TESE</span></b><b style="mso-bidi-font-weight: normal;"><span face=""Segoe UI",sans-serif" style="color: black; font-size: 10pt; mso-fareast-language: ZH-CN;">: Origens do
Instituto de Artes da UFRGS</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="http://www.lume.ufrgs.br/handle/10183/2632"><span face=""Segoe UI",sans-serif" style="color: blue; font-size: 10pt;">http://www.lume.ufrgs.br/handle/10183/2632</span></a></span><span face=""Segoe UI",sans-serif" style="color: black; font-size: 10pt; mso-fareast-language: ZH-CN;"> </span><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
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<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="https://www.facebook.com/cirios2"><span face=""Arial Narrow",sans-serif" lang="EN-US" style="color: navy; mso-ansi-language: EN-US; mso-bidi-font-family: "Arial Narrow";">https://www.facebook.com/cirios2</span></a></span><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">BLOG de ARTE</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
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<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="http://naofoinogrito.blogspot.com.br/"><span face=""Arial Narrow",sans-serif" style="color: navy; mso-bidi-font-family: "Arial Narrow"; mso-font-kerning: 1.0pt;">http://naofoinogrito.blogspot.com.br/</span></a></span><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">BLOG PODER ORIGINÁRIO 01</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="http://poder-originario.webnode.com/"><span face=""Arial Narrow",sans-serif" style="color: navy; mso-bidi-font-family: "Arial Narrow"; mso-fareast-font-family: Calibri;">http://poder-originario.webnode.com/</span></a></span><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></b></p>
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<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="http://prof-cirio-simon.webnode.com/"><span face=""Arial Narrow",sans-serif" style="color: navy; mso-bidi-font-family: "Arial Narrow";">http://prof-cirio-simon.webnode.com/</span></a></span><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" lang="ES-CL" style="mso-ansi-language: ES-CL; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">VÌDEO</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; tab-stops: 219.75pt; text-align: center; text-indent: 2.25pt;"><span face=""Arial Narrow",sans-serif" style="color: black; mso-ansi-language: ES-CL; mso-bidi-font-family: "Arial Narrow"; mso-fareast-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><span style="mso-spacerun: yes;"> </span></span><span style="mso-fareast-language: ZH-CN;"><a href="http://www.youtube.com/watch?v=qdqXEg7ugxA"><span face=""Arial Narrow",sans-serif" lang="ES-CL" style="color: navy; mso-ansi-language: ES-CL; mso-bidi-font-family: "Arial Narrow";">http://www.youtube.com/watch?v=qdqXEg7ugxA</span></a></span><span face=""Arial Narrow",sans-serif" lang="ES-CL" style="font-size: 11pt; line-height: 150%; mso-ansi-language: ES-CL; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span face=""Arial Black",sans-serif" style="font-size: 14pt; mso-bidi-font-family: "Arial Black"; mso-fareast-language: ZH-CN;">.</span><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>Prof. Círio Simonhttp://www.blogger.com/profile/06566693954184732946noreply@blogger.com0tag:blogger.com,1999:blog-1362905750550965943.post-21508454468275401682020-09-16T10:44:00.001-07:002020-09-16T11:08:08.477-07:00ESTUDOS de ARTE nº 287 <p align="center" class="MsoNormal" style="text-align: center;"><b><span face=""Arial Black", sans-serif"><span style="font-family: verdana; font-size: x-large;">O
DESENHO no RIO GRANDE do SU</span></span><span face=""Arial Black",sans-serif" style="font-size: 22pt;"><span style="font-family: verdana;">L </span><o:p></o:p></span></b></p><div class="separator" style="clear: both; text-align: center;"></div><p align="center" class="MsoNormal" style="margin: 0cm 49.65pt 0cm 1cm; mso-hyphenate: none; tab-stops: 404.0pt; text-align: center;"><span face=""Arial",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH-WMpfDXjigk6wjV4YgPgn4VnXqgNJTKgsOVM9H-yTkDkRtOmlHCa4SgGiHcwkF8vrD6qh2qzP-NzgqvOKDISK5LDRCRHUqovH4EYjwLGeAhRt72LXgFVLViRRmRSHYzsC5hfeF0AP51X/s771/01+Francisco+BELLANCA.1917+png.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="737" data-original-width="771" height="414" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH-WMpfDXjigk6wjV4YgPgn4VnXqgNJTKgsOVM9H-yTkDkRtOmlHCa4SgGiHcwkF8vrD6qh2qzP-NzgqvOKDISK5LDRCRHUqovH4EYjwLGeAhRt72LXgFVLViRRmRSHYzsC5hfeF0AP51X/w404-h414/01+Francisco+BELLANCA.1917+png.png" width="404" /></a></div><span style="font-family: arial;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><span style="font-family: arial;"><br /><div style="text-align: center;"><span style="color: #990000;">Fig. 01 –</span><b style="color: #990000;"> Francisco BELLANCA praticou a PESQUISAS ARTES NOBRES</b><span style="color: #990000;"> </span><b style="color: #990000;">criações originais, únicas e pessoais sem deixar de se dedicar às ARTES PRÀTICAS dos
MULTIPLOS . </b><span style="color: #990000;">Nesta área aplicada ele praticou o DESIGN, as ILUSTRAÇÔES e o DESENHO
ARQUITETÔNIO. Nas suas pesquisas visuais BELLANCA incluiu o tema da memória do
PATRIMÔNIO das ARTES VISUAIS do RIO GRANDE do SUL além de ilustração dos
primórdios da ECOLOGIA</span></div></span></blockquote></span><o:p></o:p><p></p><div class="separator" style="clear: both; text-align: center;">
<p align="center" class="MsoNormal" style="margin: 0cm 49.65pt 0.0001pt 1cm;"><br /></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 49.65pt; mso-hyphenate: none; tab-stops: 404.0pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;"> Inicia-se, aqui, a revisão de um passeio de
três semanas praticada no DESENHO do Rio Grande do Sul.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 49.65pt; mso-hyphenate: none; tab-stops: 404.0pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">Não existiu
problema ou tese á vista. Tão pouco não se carregou uma caixa de alfinetes para
espetar e classificar e gerar quadros de fenômenos raros e estranhos. Não se
quis comparações, juízos ou hierarquizações. As comparações sempre são odiosas.
Os juízos sempre parciais e carregados de preconceitos e repertório de QUEM
julga. As hierarquizações fatalmente criam castas de uma ordem arbitrária
daqueles de cima e daqueles debaixo.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 49.65pt; mso-hyphenate: none; tab-stops: 404.0pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">Com
estes pressupostos iniciou-se um despretensioso passeio pela seara do DESENHO
do RIO GRANDE do SUL. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 49.65pt; mso-hyphenate: none; tab-stops: 404.0pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">O
ATO de DESENHAR significa estabelecer uma ponte física entre o que se passa na
mente humana com aquilo ao qual se pretende ou projeta conferir um corpo
material. Este frágil corpo físico favorece, contraditoriamente, a percepção do
espaço mental do qual se originou. O ATO de DESENHAR foi uma das atividades
humanas mais antigas e universais que se materializam e deixaram testemunhos e
documentos nas paredes das cavernas.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 49.65pt; mso-hyphenate: none; tab-stops: 404.0pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;"> O ATO de DESENHAR é mais comum nas ARTES
VISUAIS onde o conecta o caminho do PINTOR, do GRAVADOR, do ESCULTOR, do
DESIGNER, do ARQUITETO<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 49.65pt; mso-hyphenate: none; tab-stops: 404.0pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">No
entanto o ATO de DESENHAR MENTALMENTE também e praticado pelos escritores que
materializam cenários personagens gráficos aos seus personagens antes de
construir a narrativa relativa a eles. Entre tantos outros também foi o caso de
ÉRICO VERÌSSIMO.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 49.65pt; mso-hyphenate: none; tab-stops: 404.0pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;"> Evidente o que se destaca os DESENHISTAS que
praticam esta ARTE como OBRA FINAL. No entanto uma OBRA de ARTE sempre pede o
conhecimento e os meios pelos quais criou o se corpo físico e material onde
nada pode faltar e nada sobrar. O professor Aldo LOCATELLI recomendava - aos
seus estudantes de MURALISMO - para CONSERVAREM e TENTAREM preservarem o
momento da CONCEPÇÂO e do ESBOÇO como determinante final da OBRA. Miguel Ângelo
insistia que o “DESENHO é um DEUS EM NÒS” “DIO IN NOI”. Quanto mais próximo
deste primeiro lampejo da divindade, mais o ENTE HUMANO está seguro do seu MODO
de SER no MUNDO.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 49.65pt; mso-hyphenate: none; tab-stops: 404.0pt; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">Este
MODO de SER no MUNDO evolui da infância, passa pela juventude, ganha forma na
maturidade e se consolida com a idade da sabedoria. Nesta evolução o DESENHO é um instrumento físico para acompanhar passo a
passo o seu AUTO CONHECIMENTO.<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin-left: 49.65pt;"><span face=""Arial Narrow",sans-serif">“DIO IN NOI”<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin-left: 49.65pt;"><a href="http://profciriosimon.blogspot.com/2016/02/152-logistica-em-estudos-de-arte.html">http://profciriosimon.blogspot.com/2016/02/152-logistica-em-estudos-de-arte.html</a><o:p></o:p></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin-left: 49.65pt;"><span face=""Arial Narrow",sans-serif">Imagem: DESENHO de ÈRICO VERÍSSIMO<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin-left: 49.65pt;"><span face=""Arial Narrow",sans-serif"><a href="https://ims.com.br/por-dentro-acervos/pelas-beiradas-dos-acervos/">https://ims.com.br/por-dentro-acervos/pelas-beiradas-dos-acervos/</a><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin-left: 49.65pt;"><span face=""Arial Narrow",sans-serif">FACE BOOK<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin-left: 49.65pt; text-indent: 1cm;"><a href="https://www.facebook.com/photo/?fbid=985463968569422&set=gm.2675708045980716">https://www.facebook.com/photo/?fbid=985463968569422&set=gm.267570804598071</a></p>
<p class="MsoNormal" style="line-height: 115%; margin: 0cm 49.65pt 0cm 14.2pt; tab-stops: 404.0pt; text-align: justify; text-indent: 2cm;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">Ao longo SESSÕES VIRTUAIS do
GRUPO de PESQUISAS da AAMARGS foi possível um ligeiro sobrevoo do campo das forças
de DESENHO SUL-RIO-GRANDENSE.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin: 0cm 49.65pt 0cm 14.2pt; tab-stops: 404.0pt; text-align: justify; text-indent: 2cm;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">Optou-se por nomes de
DESENHISTAS que de uma outra forma deixaram obras que já possuem uma certa
notoriedade<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin: 0cm 49.65pt 0.0001pt 21.3pt;"><b><span face=""Arial Black",sans-serif" style="font-size: 18pt; mso-bidi-font-size: 22.0pt;">PRIMEIRA
SEMANA </span></b><b><span face=""Arial Black",sans-serif" style="font-size: 22pt;">de VISITAS aos</span></b><span face=""Arial Black", sans-serif" style="font-size: 18pt;"> MESTRES SUL-RIOGRANDENSES do DESENHO</span><span face=""Verdana",sans-serif" style="font-size: 14pt;"><o:p></o:p></span></p></div><p align="center" class="MsoNormal" style="margin: 0cm 63.8pt 0cm 1cm; mso-hyphenate: none; text-align: center;"><span face=""Arial",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMhg4Dtk0qlBnmZ6dB3E2luxDjsbyL99LoYVtLteDSCznxjYzL-xBU37rADN9gJPE7G8BWNuov2TSZ4rWuIzilcgjXQWZQFJkm5ZittFqlCXZsOip4j2GA0Iat64c_yBRIdgDnmvvc-LpT/s2048/02+-++os+que+amaram+o+deseno.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1788" height="615" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMhg4Dtk0qlBnmZ6dB3E2luxDjsbyL99LoYVtLteDSCznxjYzL-xBU37rADN9gJPE7G8BWNuov2TSZ4rWuIzilcgjXQWZQFJkm5ZittFqlCXZsOip4j2GA0Iat64c_yBRIdgDnmvvc-LpT/w351-h615/02+-++os+que+amaram+o+deseno.jpg" width="351" /></a></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: center;"><span style="color: #990000;">Fig. 02 –<b>Desponta
nestes seis desenhistas a variedade de propostas conceituais como a diversidade
de técnicas adotadas. </b>Até prova em contrário esta diversidade reflete o
traço dominante na identidade sul-rio-grandense. A laboriosa e difícil
preservação da autonomia individual num mar de tipos iguais, cópias passivas e
acomodações ecléticas </span></blockquote><span style="color: #990000;"><o:p></o:p></span><p></p><div class="separator" style="clear: both; text-align: center;">
<p align="center" class="MsoNormal" style="margin: 0cm 63.8pt 0.0001pt 1cm;"><span face=""Verdana",sans-serif" style="color: #990000; font-size: 11pt; mso-bidi-font-size: 14.0pt;"> </span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 63.8pt; mso-hyphenate: none; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">No dia 01 de setembro de
2020, completou-se uma semana de postagens relativas ao despretensioso passeio
pela seara do DESENHO do RIO GRANDE do SUL <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 63.8pt; mso-hyphenate: none; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">Estas postagens não se
fixaram num problema ou tese. Apenas percorreu-se algumas das imensas
competências do ATO de DESENHAR tendo por suficiente as largas dimensões do
TERRITÓRIO do estado. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 63.8pt; mso-hyphenate: none; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">Caminha-se sem pressa na
seara do DESENHO do RIO GRANDE do SUL sem mapa prévio, sem pagar pedágio ou ter
dono, sem caixa de alfinetes, sem comparações, juízos ou hierarquizações.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 63.8pt; mso-hyphenate: none; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;"> Apenas permanecem as pegadas do caminho já
feito na seguinte sequência:<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin-left: 63.8pt;"><span face=""Arial Narrow",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"> </span></p>
<p align="center" class="MsoNormal" style="margin-left: 63.8pt;"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"> 26 de agosto de 2020</span><span face=""Arial Black", sans-serif" style="font-size: 18pt;"> </span><b><span face=""Arial Narrow", sans-serif">O DESENHO no RIO GRANDE do SUL.<o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin-left: 63.8pt;"><span face=""Arial Narrow",sans-serif">FACE
BOOK<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin-left: 63.8pt;"><span face=""Arial Narrow",sans-serif"><a href="https://www.facebook.com/photo/?fbid=985463968569422&set=gm.2675708045980716">https://www.facebook.com/photo/?fbid=985463968569422&set=gm.2675708045980716</a><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin-left: 63.8pt;"><span face=""Arial Narrow",sans-serif"> </span></p>
<p align="center" class="MsoNormal" style="margin-left: 63.8pt;"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"> 27 de agosto de 2020</span><span face=""Arial Black", sans-serif" style="font-size: 18pt;"> </span><b><span face=""Arial Narrow", sans-serif">A CATEDRÁTICA e DOUTORA em DESENHO</span></b><span face=""Arial Narrow", sans-serif">.<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin-left: 63.8pt;"><span face=""Arial Narrow",sans-serif">FACE
BOOK<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin-left: 63.8pt;"><span face=""Arial Narrow",sans-serif"><a href="https://www.facebook.com/photo/?fbid=986144525168033&set=gm.2676501939234660">https://www.facebook.com/photo/?fbid=986144525168033&set=gm.2676501939234660</a></span><o:p></o:p></p>
<p class="MsoNormal" style="margin-left: 63.8pt;"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"> </span></p>
<p align="center" class="MsoNormal" style="margin-left: 63.8pt;"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"> 28 de agosto de 2020</span><span face=""Arial Black", sans-serif" style="font-size: 18pt;"> </span><b><span face=""Arial Narrow", sans-serif">Um ESCULTOR que era DESENHISTA</span></b><span face=""Arial Narrow", sans-serif">.<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin: 0cm 63.8pt 0.0001pt 1cm; text-indent: -1cm;"><span face=""Arial Narrow",sans-serif">FACE
BOOK<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin-left: 63.8pt;"><span face=""Arial Narrow",sans-serif"><a href="https://www.facebook.com/photo/?fbid=987036591745493&set=gm.2677533472464840">https://www.facebook.com/photo/?fbid=987036591745493&set=gm.2677533472464840</a></span><span face=""Arial Narrow",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin-left: 63.8pt;"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"> </span></p>
<p align="center" class="MsoNormal" style="margin-left: 63.8pt;"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"> 29 de agosto de 2020</span><span face=""Arial Black", sans-serif" style="font-size: 18pt;"> </span><b><span face=""Arial Narrow", sans-serif">O ARQUITETO que era DESENHISTA</span></b><span face=""Arial Narrow", sans-serif">.<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 150%; margin-left: 63.8pt;"><span face=""Arial Narrow",sans-serif">FACE
BOOK<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin-left: 63.8pt;"><span face=""Arial Narrow",sans-serif"><a href="https://www.facebook.com/photo/?fbid=987654665017019&set=gm.2678226785728842">https://www.facebook.com/photo/?fbid=987654665017019&set=gm.2678226785728842</a><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 63.8pt;"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"> </span></p>
<p align="center" class="MsoNormal" style="margin-left: 63.8pt;"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"> 30 de agosto de 2020</span><span face=""Arial Black", sans-serif" style="font-size: 18pt;"> </span><b><span face=""Arial Narrow", sans-serif">O DESENHO como INTERAÇÃO SOCIAL.<o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin-left: 63.8pt;">FACE BOOK<o:p></o:p></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin-left: 63.8pt;"><a href="https://www.facebook.com/photo/?fbid=988521491597003&set=gm.2679201895631331">https://www.facebook.com/photo/?fbid=988521491597003&set=gm.2679201895631331</a><o:p></o:p></p>
<p class="MsoNormal" style="margin-left: 63.8pt;"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"> </span></p>
<p align="center" class="MsoNormal" style="margin-left: 63.8pt;"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"> 31 de agosto de 2020</span><span face=""Arial Black", sans-serif" style="font-size: 18pt;"> </span><b><span face=""Arial Narrow", sans-serif">Um HISTORIADOR de ARTE que era DESENHISTA.<o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="margin-left: 63.8pt;"><span face=""Arial Narrow",sans-serif" style="mso-fareast-language: ZH-CN;"> FACE BOOK<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin-left: 63.8pt;"><span face=""Arial Narrow",sans-serif"><a href="https://www.facebook.com/photo/?fbid=989347181514434&set=gm.2680101898874664">https://www.facebook.com/photo/?fbid=989347181514434&set=gm.2680101898874664</a><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin-left: 63.8pt;"><span face=""Arial Narrow",sans-serif"> </span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 63.8pt; mso-hyphenate: none; text-align: justify; text-indent: 63.8pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">Esta pequena trilha tem por guia Alice Soares a mestra que
aponta para a vastidão de obras, artistas
e patrimônios gráficos que estão a espera de pesquisa consequente,
sistematização reversível às fontes, um solido arquivo profissional e uma socialização do que for possível.</span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin-left: 63.8pt; text-indent: -7.1pt;"><span face=""Arial Narrow",sans-serif">FACE BOOK<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin-left: 63.8pt; text-indent: -7.1pt;"><span face=""Arial Narrow",sans-serif"><a href="https://www.facebook.com/photo/?fbid=990225604759925&set=gm.2681005922117595">https://www.facebook.com/photo/?fbid=990225604759925&set=gm.2681005922117595</a></span></p></div><p align="center" class="MsoNormal" style="line-height: 115%; mso-hyphenate: none; text-align: center;"><span face=""Arial Narrow",sans-serif" style="font-size: 16pt; line-height: 115%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUd6HRv35EQd5n-NZL8WBAqMvKTX4lRCnXmfibC_G0QKwfd4xAnBAyFm0_BoNPnaStc8QvnU3fY8pi8WqHmHC3gQp_JDPFzqK-ahs-2fc-1Jj_BRN0IByJ3Dj4Fvd2FsjWI5pBQCo4KoWt/s1652/03+-+chris.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1652" data-original-width="1172" height="570" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUd6HRv35EQd5n-NZL8WBAqMvKTX4lRCnXmfibC_G0QKwfd4xAnBAyFm0_BoNPnaStc8QvnU3fY8pi8WqHmHC3gQp_JDPFzqK-ahs-2fc-1Jj_BRN0IByJ3Dj4Fvd2FsjWI5pBQCo4KoWt/w331-h570/03+-+chris.jpg" width="331" /></a></div><div style="text-align: center;">DESENHOS de CRISTNA BALBÂO no ACERVO do MARGS</div><o:p></o:p><p></p><div class="separator" style="clear: both; text-align: center;">
<p align="center" class="MsoNormal" style="background: white;"><span face=""Arial",sans-serif" style="color: #222222;"><a href="http://www.margs.rs.gov.br/catalogo-de-obras/C/36913/" target="_blank"><span style="color: #1155cc;">http://www.margs.rs.gov.br/catalogo-de-obras/C/36913/</span></a><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin: 0cm 35.45pt 0.0001pt 1cm;"><span face=""Arial",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"><span style="font-family: arial;">Fig. 03 - <b>Cristina BALBÂO, Waldeny Elias e Iberê
CAMARGO constituem uma pequena amostra,
além dos 18 DESENHISTAS estudas nas três semanas de visitats. As suas PESQUISAS GRÀFICAS demostram a diversidade,
o poder e a força do DESENHO praticado no Rio Grande do Sul. </b>Cristin BALBÂO não s dobrou aos MERCADO
de ARTE e preservou a sua produção gráficas como algo próprio. Neste sentido a Missão Artística Francesa
introdução do conceito de “ARTES NOBRES”, ou aquelas que o artista produz por
que de fato ele gosta de Arte. Neste sentido Crisrma BALBÂO pode ser considerada
uma PRINCESA ou aquele que iniciou um grande número de pessoas a apreciar e
praticar as ARTES VISUAIS nesta mesma direçao sem lhes impor qualquer
tendêmcia, paradigma o modelo a seguir Os familiares fizerem ao ACERVO do
MARGS uma generosa doação destes
guardados amorosos de CRIST</span>INA <b><o:p></o:p></b></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%;"><span face=""Arial Narrow",sans-serif" style="font-size: 16pt; line-height: 115%;"> </span></p>
<p align="center" class="MsoNormal" style="line-height: 115%;"><span face=""Arial Narrow",sans-serif"> </span></p>
<p align="center" class="MsoNormal"><span face=""Arial Black", sans-serif" style="font-size: 18pt;">SEGUNDA SEMANA </span><b><span face=""Arial Black",sans-serif" style="font-size: 22pt;">de VISITAS aos</span></b><span face=""Arial Black", sans-serif" style="font-size: 18pt;"> MESTRES SUL-RIO-GRANDENSES do DESENHO.<o:p></o:p></span></p></div><p align="center" class="MsoNormal" style="margin: 0cm 42.55pt 0cm 1cm; mso-hyphenate: none; text-align: center;"><span face=""Arial",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"></span></p><div class="separator" style="clear: both; text-align: center;"><span face=""Arial",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzg1kpCwtir3-mu1qJy-EhUfv6bxNNL7CGXWwLfwq1AKBRNkZ1s77fmyaoew_svFcI1E6MrAv_rsh4S293Rt0L9kpToziuliv33rtU_ook0PB6glTuOcPZWjR0kA1G6H-fJNKjznbRIpeM/s2048/04+SEIS+DESENISTAS+do+RS.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1750" height="501" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzg1kpCwtir3-mu1qJy-EhUfv6bxNNL7CGXWwLfwq1AKBRNkZ1s77fmyaoew_svFcI1E6MrAv_rsh4S293Rt0L9kpToziuliv33rtU_ook0PB6glTuOcPZWjR0kA1G6H-fJNKjznbRIpeM/w338-h501/04+SEIS+DESENISTAS+do+RS.jpg" width="338" /></a></span></div><span face=""Arial",sans-serif" style="mso-fareast-language: ZH-CN;"><span style="color: #990000;"><br /></span><div style="text-align: center;"><span style="color: #990000;">Fig. 04 –<b>Seis
personalidades que praticaram PESQUISAS GRÁFICAS na concepção das ARTES NOBRES e
que foram apreciados na segunda semana de visitas virtuais pelo GRUPO de
PESQUISAS da AAMARGS</b>. Estes desenhistas enriquecem com as suas pesquisas a memória
do PATRIMÔNIO das ARTES VISUAIS do RIO GRANDE do SUL </span></div></span><p></p><div class="separator" style="clear: both; text-align: center;">
<p class="MsoNormal" style="line-height: 115%; margin-left: 42.55pt; mso-hyphenate: none; text-align: justify;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">O DESENHO no Rio Grande do Sul abre espaço
num campo fundamental na medida em que ele conquista mais cultivadores
qualificados. Campo de forças no qual transitam e se encontram praticamente
todas as Artes Visuais. Na presente série pratica-se um olhar retrospectivo e
uma panorâmica do que existe de fato e de direito no DESENHO SU-RIO-GRANDENSE.
Na medida em que avança, está série, verifica-se nele um lugar de nutridas
EXPRESSÕES de AUTONOMIA que começam a fazer cada vez mais sentido.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 42.55pt; mso-hyphenate: none; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;"> </span></p>
<p align="center" class="MsoNormal" style="margin-left: 42.55pt;"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;">02 de setembro de 2020 </span><b><span face=""Arial Narrow",sans-serif">A
HARMONIOSA SIMBIOSE entre o PINTOR e o DESENHISTA.</span></b><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin-left: 42.55pt;"><span face=""Arial Narrow",sans-serif">FACE
BOOK<o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 42.55pt; mso-hyphenate: none;"><span face=""Arial Narrow",sans-serif"><a href="https://www.facebook.com/photo/?fbid=991070391342113&set=gm.2681994692018718">https://www.facebook.com/photo/?fbid=991070391342113&set=gm.2681994692018718</a><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 42.55pt;"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"> </span></p>
<p align="center" class="MsoNormal" style="margin: 0cm 42.55pt 0.0001pt 18pt;"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;">03 de setembro de 2020</span><span face=""Arial Black", sans-serif" style="font-size: 16pt;"> </span><b><span face=""Arial Narrow", sans-serif">O DESENHO como ESPANTO na REVELAÇÃO CONSTRUÍDA por NICO ROCHA.</span></b><span face=""Arial Black", sans-serif" style="font-size: 16pt;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin-left: 42.55pt;"><span face=""Arial Narrow", sans-serif">FACE BOOK<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin: 0cm 42.55pt 0.0001pt 18pt;"><a href="https://www.facebook.com/photo/?fbid=991884944593991&set=gm.2682924801925707">https://www.facebook.com/photo/?fbid=991884944593991&set=gm.2682924801925707</a><span face=""Arial Black", sans-serif" style="font-size: 18pt;"><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 42.55pt;"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"> </span></p>
<p align="center" class="MsoNormal" style="margin-left: 42.55pt;"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;">04 de setembro de 2020</span><span face=""Arial Black", sans-serif" style="font-size: 18pt;"> </span><b><span face=""Arial Narrow", sans-serif">Os ARQUÉTIPOS ESSENCIAS no DESENHO.<o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="line-height: 150%; margin-left: 42.55pt;"><span face=""Arial Narrow",sans-serif">FACE
BOOK<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 150%; margin-left: 42.55pt;"><a href="https://www.facebook.com/photo/?fbid=992729797842839&set=gm.2683795378505316">https://www.facebook.com/photo/?fbid=992729797842839&set=gm.2683795378505316</a><span face=""Arial Narrow",sans-serif"><o:p></o:p></span></p>
<p class="MsoNormal" style="margin-left: 42.55pt;"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"> </span></p>
<p align="center" class="MsoNormal" style="margin-left: 42.55pt;"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;">05 de setembro de 2020</span><span face=""Arial Black", sans-serif" style="font-size: 18pt;"> </span><b><span face=""Arial Narrow", sans-serif">O DESENHO como AUTO-CONHECIMENTO</span></b><span face=""Arial Black", sans-serif" style="font-size: 18pt;"> <o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin-left: 42.55pt;">FACE
BOOK<o:p></o:p></p>
<p align="center" class="MsoNormal" style="margin-left: 42.55pt;"><a href="https://www.facebook.com/photo/?fbid=993505367765282&set=gm.2684665231751664">https://www.facebook.com/photo/?fbid=993505367765282&set=gm.2684665231751664</a><o:p></o:p></p>
<p align="center" class="MsoNormal" style="margin-left: 42.55pt;"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"> </span></p>
<p align="center" class="MsoNormal" style="margin-left: 42.55pt;"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"> </span></p>
<p align="center" class="MsoNormal" style="margin-left: 42.55pt;"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;">06 de setembro de 2020</span><span face=""Arial Black", sans-serif" style="font-size: 18pt;"> </span><b><span face=""Arial Narrow", sans-serif">O DESENHO de um MURALISTA.<o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="margin-left: 42.55pt;"><span face=""Verdana",sans-serif"> </span></p>
<p align="center" class="MsoNormal" style="margin-left: 42.55pt;"><span face=""Verdana",sans-serif">FACE BOOK<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin-left: 42.55pt;"><a href="https://www.facebook.com/photo/?fbid=994354981013654&set=gm.2685617194989801">https://www.facebook.com/photo/?fbid=994354981013654&set=gm.2685617194989801</a><span style="color: #c00000;"> </span></p>
<p align="center" class="MsoNormal" style="margin-left: 42.55pt;"><br /></p>
<p align="center" class="MsoNormal" style="margin-left: 42.55pt;"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;">07 de setembro de 2020</span><span face=""Arial Black", sans-serif" style="font-size: 18pt;"> </span><b><span face=""Arial Narrow", sans-serif">O DESENHO como GESTO</span></b><span face=""Arial Narrow", sans-serif">.<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin-left: 42.55pt;"><span face=""Arial Narrow",sans-serif">FACE
BOOK<br />
<a href="https://www.facebook.com/photo/?fbid=995038827611936&set=gm.2686390438245810">https://www.facebook.com/photo/?fbid=995038827611936&set=gm.2686390438245810</a></span><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 42.55pt; mso-hyphenate: none; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;"> </span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 42.55pt; mso-hyphenate: none; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">O percurso atento pela
produção existe deste SEIS DESENISTAS demonstra de que existe, de fato e de
direito, um lugar comum de EXPRESSÕES de
AUTONOMIA CONCRETAS e VISÍVEIS por meio do DESENHO que começou e que
continua a fazer cada vez mais sentido no RIO GRANDE do SUL<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin-left: 42.55pt;"><span face=""Arial Narrow",sans-serif">FACE
BOOK<o:p></o:p></span></p>
<span face=""Arial Narrow",sans-serif" style="font-size: 12pt; mso-ansi-language: PT-BR; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: PT-BR;"><a href="https://www.facebook.com/photo?fbid=995895720859580&set=gm.2687330961485091">https://www.facebook.com/photo?fbid=995895720859580&set=gm.2687330961485091</a></span></div><p align="center" class="MsoNormal" style="line-height: 115%; margin: 0cm 14.2pt; text-align: center; text-indent: -7.1pt;"><span face=""Arial",sans-serif" style="background: white; color: #6b6b6b; font-size: 13.5pt; line-height: 115%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiXlEsxlbrTBaciISyuExFj7P14da-y3owDtFC3BSlatxnNKPd3aHBPYDLFE5v4WcoKKMm7zzOi4rXHtTCDaeNrdL4004fKW0DTJjjrzBNHrULF1nP44Y4sGT7ShvOwtiakLtfHtDGS4Js/s1600/05+WAldeny+ELIAS.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1074" height="501" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiXlEsxlbrTBaciISyuExFj7P14da-y3owDtFC3BSlatxnNKPd3aHBPYDLFE5v4WcoKKMm7zzOi4rXHtTCDaeNrdL4004fKW0DTJjjrzBNHrULF1nP44Y4sGT7ShvOwtiakLtfHtDGS4Js/w346-h501/05+WAldeny+ELIAS.jpg" width="346" /></a></div><br /><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"> Waldeny Elias,
nanquim, 1961 40x27cm</blockquote><o:p></o:p><p></p><div class="separator" style="clear: both; text-align: center;">
<p align="center" class="MsoNormal" style="line-height: 115%; margin: 0cm 14.2pt 0.0001pt; text-indent: -7.1pt;"><a href="http://www.pontodearteleiloes.com.br/peca.asp?ID=426279">http://www.pontodearteleiloes.com.br/peca.asp?ID=426279</a><span face=""Arial",sans-serif" style="background: white; color: #6b6b6b; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin: 0cm 35.45pt 0.0001pt 1cm;"><span face=""Arial",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;">Fig. 05 - <b>A grande estatura física de WALDENY ELIAS
reflete-se nos grandes planos e traços determinantes do seu DESENHO. </b>Ele
permaneceu na memória das ARTES VISUAIS do RIO GRANDE do SUL com os seus traços
de rebeldia pessoal experimentados no DESENHO. Na antítese ele construiu os
grandes planos de sua PINTURA interpretada com tinta manejada com maestria impecável.
Prova de sua rebeldia é seu agrupamento do BODE PRETO que ele conduziu na busca
do diferente do que se passava na cena pública de sua época no Rio Grande do
Sul<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin: 0cm 35.45pt 0.0001pt 1cm;"><br /></p>
<p align="center" class="MsoNormal"><b><span face=""Arial Black",sans-serif" style="font-size: 22pt;">TERCEIRA SEMANA de VISITAS aos</span></b><span face=""Arial Black", sans-serif" style="font-size: 18pt;"> MESTRES SUL-RIO-GRANDENSES do DESENHO</span><span face=""Verdana",sans-serif" style="font-size: 14pt;"><o:p></o:p></span></p></div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPynt8wp7_tvlmngZyKlDztnHECr4D123ypg3mhoYGYh07WIK6sAS9-eeeiYgrpuhXuHEm9Ci5zz7gPMP1duFamapa0FgdNBQKfj8FJDNGCMhKOs41w8p-6e1GmgfaYXQ_QlwN5j5dOEWM/s1598/06+SEIS+MESTRES++DoDESENHO+SUL-RIOGRANDENSE.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1598" data-original-width="1210" height="516" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPynt8wp7_tvlmngZyKlDztnHECr4D123ypg3mhoYGYh07WIK6sAS9-eeeiYgrpuhXuHEm9Ci5zz7gPMP1duFamapa0FgdNBQKfj8FJDNGCMhKOs41w8p-6e1GmgfaYXQ_QlwN5j5dOEWM/w378-h516/06+SEIS+MESTRES++DoDESENHO+SUL-RIOGRANDENSE.jpg" width="378" /></a></div><br /> <span face="Arial, sans-serif" style="color: #c00000; text-align: center;">F</span><span style="color: #990000;"><span face="Arial, sans-serif" style="text-align: center;">ig. 06 –</span><b style="font-family: arial, sans-serif; text-align: center;"> Na
terceira semana a atenção foi dada aqueles que são referências consagradas no
DESENHO do RIO GRANDE do SUL </b><span face="Arial, sans-serif" style="text-align: center;">Entre eles é possível observar diferenças
notáveis e que na sua diversidade enriquecem o PATRIMÔNIO SIMBÓLICO </span><span face="Arial, sans-serif" style="text-align: center;"> </span><span face="Arial, sans-serif" style="text-align: center;">das ARTES VISUAIS do RIO GRANDE do SUL </span><span face="Arial, sans-serif" style="text-align: center;"> </span><span face="Arial, sans-serif" style="text-align: center;">O que é de se temer é a fragilidade dos
DESENHOS originais, a dispersão a a precariedade dos arquivos. Nesta segurança
da preservação do PATRIMÔNIO do DESENHO não colaboram os VALORES PATRIMONIAIS,
O DESENHOS possui COTAÇÂO muito baixa e variável frente a PINTURA e a ESCULTUR</span></span><span face="Arial, sans-serif" style="color: #c00000; text-align: center;">A.
</span><span face="Arial, sans-serif" style="color: #c00000; text-align: center;"> </span><span face="Arial, sans-serif" style="color: #c00000; text-align: center;">,</span><p class="MsoNormal" style="line-height: 115%; mso-hyphenate: none; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">Não é possível falar da existência de uma
escola, e muito menos de um ESTILO, de DESENHO SUL-RIO-GRANDESE. Esta
identidade coletiva é criada, contraditoriamente, pela busca do único e do
marcante em cada SUL-RIO-GRANDESE. Não é DIFERENTE em quem cultiva as
expressões estéticas como no DESENHO ou em outras numerosas atividades
culturais do Rio Grande do Sul. No
DESENHO um cortejo de nomes e de obras cria e identifica o que uma identidade é
um caráter pessoal do mais alto valor. Somam-se aos demais sem conflitos ou
excomunhões recíprocas. Na presente semana foram escolhidos arbitrariamente
seis nomes cujo vínculo não vai muito além de terem desenvolvidas suas práticas
e concepções de DESENHO no interior da célula geográfica do Estado. Convida-se
aqui rever estes seus nomess e suas obras.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; mso-hyphenate: none; text-align: justify; text-indent: 70.9pt;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;"> <o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;">09 de setembro de 2020</span><span face=""Arial Black", sans-serif" style="font-size: 18pt;"> </span><span face=""Arial Narrow", sans-serif">Os MESTRES SUL- cujo vínculo entre eles
não vai muito além de pRIO-GRANDENSES do DESENHO<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Black", sans-serif">Manuel ARAÚJO PORTO-ALEGRE<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span face=""Arial Narrow", sans-serif"> </span><span face=""Arial Narrow",sans-serif">FACE BOOK<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span face=""Arial Narrow",sans-serif"><a href="https://www.facebook.com/photo?fbid=996641960784956&set=gm.2688161561402031">https://www.facebook.com/photo?fbid=996641960784956&set=gm.2688161561402031</a><o:p></o:p></span></p>
<p class="MsoNormal"><span face=""Arial Narrow",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"> </span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;">10 de setembro de 2020</span><span face=""Arial Black", sans-serif" style="font-size: 18pt;"> </span><span face=""Arial Narrow", sans-serif">Os MESTRES SUL-RIO-GRANDENSES do
DESENHO<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Black", sans-serif">Pedro WEINGÄRTNER<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; mso-hyphenate: none; text-align: center;"><span face=""Arial Narrow", sans-serif"> </span><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: Arial; mso-fareast-language: ZH-CN;">FACE BOOK<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Narrow",sans-serif"><a href="https://www.facebook.com/photo?fbid=997410644041421&set=gm.2689133081304879">https://www.facebook.com/photo?fbid=997410644041421&set=gm.2689133081304879</a></span><span face=""Arial Narrow", sans-serif"><o:p></o:p></span></p>
<p class="MsoNormal"><span face=""Arial Narrow",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"> </span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;">11 de setembro de 2020</span><span face=""Arial Black", sans-serif" style="font-size: 18pt;"> </span><span face=""Arial Narrow", sans-serif">Os MESTRES SUL-RIO-GRANDENSES do
DESENHO<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Black", sans-serif">João FAHRION <o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Narrow",sans-serif">FACE BOOK<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><a href="https://www.facebook.com/photo?fbid=998146133967872&set=gm.2689945741223613">https://www.facebook.com/photo?fbid=998146133967872&set=gm.2689945741223613</a><span face=""Arial",sans-serif" lang="ES-TRAD" style="font-size: 9pt; mso-ansi-language: ES-TRAD; mso-bidi-font-family: "Times New Roman"; mso-bidi-font-size: 10.0pt;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Black", sans-serif" style="font-size: 11pt;"> </span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;">12 de setembro de 2020</span><span face=""Arial Black", sans-serif" style="font-size: 18pt;"> </span><span face=""Arial Narrow", sans-serif">Os MESTRES SUL-RIO-GRANDENSES do
DESENHO<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Black", sans-serif">Giuseppe GAUDENZI<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; mso-hyphenate: none; text-align: center;"><span face=""Arial Narrow",sans-serif">FACE
BOOK<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; mso-hyphenate: none; text-align: center;"><span face=""Arial Narrow",sans-serif"><a href="https://www.facebook.com/photo/?fbid=998937500555402&set=gm.2690818114469709">https://www.facebook.com/photo/?fbid=998937500555402&set=gm.2690818114469709</a><o:p></o:p></span></p>
<p class="MsoNormal"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"> </span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;">13 de setembro de 2020</span><span face=""Arial Black", sans-serif" style="font-size: 18pt;"> </span><span face=""Arial Narrow", sans-serif">Os MESTRES SUL-RIO-GRANDENSES do
DESENHO<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Black", sans-serif">Francisco BELLANCA<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; mso-hyphenate: none; text-align: center;"><span face=""Arial Narrow",sans-serif">FACE
BOOK<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; mso-hyphenate: none; text-align: center;"><span face=""Arial Narrow",sans-serif"><a href="https://www.facebook.com/photo?fbid=999739763808509&set=gm.2691709054380615">https://www.facebook.com/photo?fbid=999739763808509&set=gm.2691709054380615</a><o:p></o:p></span></p>
<p class="MsoNormal"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"> </span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Black",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;">14 de setembro de 2020</span><span face=""Arial Black", sans-serif" style="font-size: 18pt;"> </span><span face=""Arial Narrow", sans-serif">Os MESTRES SUL-RIO-GRANDENSES do
DESENHO<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Black", sans-serif">Carl Ernest ZEUNER<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; mso-hyphenate: none; text-align: center; text-indent: 7.1pt;"><span face=""Arial Narrow",sans-serif">FACE
BOOK<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><span face=""Arial Narrow",sans-serif"><a href="https://www.facebook.com/photo/?fbid=1000483017067517&set=gm.2692580530960134">https://www.facebook.com/photo/?fbid=1000483017067517&set=gm.2692580530960134</a><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="background: white; text-align: center;"><span face=""Arial",sans-serif" style="color: #222222;">AUTORRETRATO aos 15 anos</span></p>
<p class="MsoNormal" style="line-height: 115%; mso-hyphenate: none; text-align: justify; text-indent: 2cm;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">Esta diversidade de concepções e práticas, do
DESENHO no âmbito do Rio Grande do Sul, é uma pequena amostra do que um
pesquisador atento, sensível e equipado com sólida e atual formação e
prática estética poderá encontrar,
pesquisar e socializar.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; mso-hyphenate: none; text-align: justify; text-indent: 2cm;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">Evidente que nesta inteligência local existem
aqueles habituados ao rançoso e informação batida recente ou antiga. Em
qualquer projeto estes necessitam impor
o elogio reciproco, a xenofobia de tudo aquilo que vem de fora. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; mso-hyphenate: none; text-align: justify; text-indent: 2cm;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">O teste simples da qualidade - que se quer
como PESQUISA FUNDAMENTADA - é a sua EXPORTAÇÃO e a sua aceitação em OUTROS AMBIENTES consagrados NACIONAIS INTERNACIONAIS e de ELITE.<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; mso-hyphenate: none; text-align: center; text-indent: -7.1pt;"><span face=""Arial Narrow",sans-serif">FACE
BOOK<o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; mso-hyphenate: none; text-align: center; text-indent: -7.1pt;"><span face=""Arial Narrow",sans-serif"><a href="https://www.facebook.com/photo?fbid=1001236056992213&set=gm.2693426404208880">https://www.facebook.com/photo?fbid=1001236056992213&set=gm.2693426404208880</a><o:p></o:p></span></p><p align="center" class="MsoNormal" style="line-height: 115%; margin: 0cm 14.2pt; text-align: center;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6EEmJFKu6AMpNAV2RE0vx97FlHMN9OTT4CMvz1-huMq2zdLxm6PftlR9V7PHFxU3e_2grXXUr6ra0E5hQIQNcGv9VYZXeFH6MeCMnCaFy1jFeZjzVw66tm8CFd2vvbFORmENAiVlsKWsH/s900/07+iberecamargo-266x300.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="798" height="459" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6EEmJFKu6AMpNAV2RE0vx97FlHMN9OTT4CMvz1-huMq2zdLxm6PftlR9V7PHFxU3e_2grXXUr6ra0E5hQIQNcGv9VYZXeFH6MeCMnCaFy1jFeZjzVw66tm8CFd2vvbFORmENAiVlsKWsH/w371-h459/07+iberecamargo-266x300.jpg" width="371" /></a></div><br /><div style="text-align: center;">Desenhos de IBERÊ CAMARGO</div><o:p></o:p><p></p><div class="separator" style="clear: both; text-align: center;">
<p align="center" class="MsoNormal" style="line-height: 115%; margin: 0cm 14.2pt 0.0001pt;"><a href="https://www.unicamp.br/unicamp/index.php/ju/noticias/2017/11/17/desenhos-de-ibere-camargo-transitam-por-diferentes-formas">https://www.unicamp.br/unicamp/index.php/ju/noticias/2017/11/17/desenhos-de-ibere-camargo-transitam-por-diferentes-formas</a><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 115%; margin: 0cm 14.2pt 0.0001pt;"><a href="https://obenedito.com.br/desenhos-ibere/">https://obenedito.com.br/desenhos-ibere/</a><o:p></o:p></p>
<p align="center" class="MsoNormal" style="margin: 0cm 35.45pt 0.0001pt 1cm;"><span face="Arial, sans-serif" style="color: #c00000;">Fig. 07 - </span><b style="color: #c00000; font-family: arial, sans-serif;">O intransigente DESENHO de IBERÊ CAMARGO é
fiel ao a sua atividade gráfica
constante, </b><span face="Arial, sans-serif" style="color: #c00000;"><b>compulsiva</b></span><b style="color: #c00000; font-family: arial, sans-serif;"> é competente para guardar de sensação da passagem instantânea
de um ciclista<o:p></o:p></b></p>
<p align="center" class="MsoNormal" style="margin: 0cm 35.45pt 0.0001pt 1cm;"><b><span face=""Arial",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"> </span></b><span face=""Arial",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;">Esta atividade gráfica é coerente na
relação do que o pincel, a tinta e a textura podem deixar sobre uma superfície.
Ao percorrer o conjunto dos DESENHOS de Iberê CAMARGO possui a nítida sensação
de estar diante do registro gráfico i de experincias vivas e únicas<b> </b>do seu autor ou ENTE no SER atista até
a medula dos ossos <o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin: 0cm 35.45pt 0.0001pt 1cm;"><b><span face=""Arial",sans-serif" style="color: #c00000; mso-fareast-language: ZH-CN;"> </span></b></p>
<p class="MsoNormal" style="line-height: 115%; margin: 0cm 14.2pt; text-align: justify; text-indent: 2cm;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">Na conclusão provisória, destas visitas,
pode-se afirmar que a PESQUISA do DESENHO é um caminho seguro para quem está se
iniciando neste campo da prática das ARTES VISUAIS no RIO GRANDE do SUL. Neste
Estado existem vastas, variadas e seguras PESQUISAS ORIGINAIS. De outra parte
estão disponíveis fontes de ARUALIZAÇÕES da inteligência estética pois a da
PESQUISA do DESENHO é algo a ser feita ainda.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin: 0cm 14.2pt; text-align: justify; text-indent: 2cm;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">O salto para a EXPORTAÇÃO da PESQUISA do
DESENHO só é possível com algo original, criativo e único. Para a inteligência
internacional existe uma espécie de olhar de piedade em ver as suas próprias
PESQUISAS do DESENHO plagiadas, mal conhecidas e assimiladas. Consideram isto
um lixo da História deles e é desconsiderado e descartado imediatamente.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 115%; margin: 0cm 14.2pt; text-align: justify; text-indent: 2cm;"><span face=""Verdana",sans-serif" style="font-size: 14pt; line-height: 115%;">Na medida em que se busca uma identidade
regional existe um vasto território a ser explorado na
PESQUISA ORIGINAL do DESENHO do Rio Grande do Sul . Em vez de partir das fontes
de outras terras pode-se tranquilamente filiar-se e retomar a trilha aberta por
DESENHISTAS LOCAIS.<o:p></o:p></span></p></div><p align="center" class="MsoNormal" style="margin-left: -11.7pt; mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span face=""Arial Narrow",sans-serif" style="color: #c00000; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUdoLwol8QWAGsGPaTfGhICDemmA-0P989E0n7ZU_MarCRyANYkRJMqb73J0OcnTZXWqCRFtaZNG_QbnyY0y-v6b9FlPp7ef55ga2he-mO3vZnnUeTeW9J4S-V8c2nIMKeXrm2hU_tCKOW/s221/08++-+CREATIVE+COMMONS.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="49" data-original-width="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUdoLwol8QWAGsGPaTfGhICDemmA-0P989E0n7ZU_MarCRyANYkRJMqb73J0OcnTZXWqCRFtaZNG_QbnyY0y-v6b9FlPp7ef55ga2he-mO3vZnnUeTeW9J4S-V8c2nIMKeXrm2hU_tCKOW/s0/08++-+CREATIVE+COMMONS.jpg" /></a></div><br />Este
material possui uso restrito ao apoio do processo continuado de
ensino-aprendizagem<span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span><p></p>
<p align="center" class="MsoNormal" style="margin-left: -11.7pt; mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span face=""Arial Narrow",sans-serif" style="color: #c00000; font-size: 11pt; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">Não há pretensão de lucro ou de apoio
financeiro nem ao autor e nem aos seus eventuais usuários</span><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="margin-left: -11.7pt; mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span face=""Arial Narrow",sans-serif" style="color: #c00000; font-size: 11pt; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">Este material é editado e divulgado
em língua nacional brasileira e respeita a formação histórica deste idioma.</span><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
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</span></span><span style="mso-fareast-language: ZH-CN;"><a href="http://creativecommons.org/licenses/by/3.0/"><span face=""Arial Narrow",sans-serif" style="color: navy; font-size: 9pt; mso-bidi-font-family: "Arial Narrow";">http://creativecommons.org/licenses/by/3.0/</span></a></span><span face=""Arial Narrow",sans-serif" style="font-size: 9pt; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span face=""Arial Narrow",sans-serif" style="font-size: 9pt; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p> </o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">ASSISTÊNCIA TÉCNICA e DIGITAL de<span style="mso-spacerun: yes;"> </span>CÌRIO JOSÉ SIMON</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="https://www.facebook.com/photo.php?fbid=10205784875074212&set=a.1709833538793.2091031.1026728341&type=1&theater"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="color: navy; mso-bidi-font-family: "Arial Narrow";">https://www.facebook.com/photo.php?fbid=10205784875074212&set=a.1709833538793.2091031.1026728341&type=1&theater</span></b></a></span><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p> </o:p></span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">Referências para Círio SIMON</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">E-MAIL</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="mailto:prof.cirio.simon@gmail.com"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" lang="ES" style="background: white; color: #1155cc; mso-ansi-language: ES; mso-bidi-font-family: "Arial Narrow"; mso-font-kerning: 1.0pt;">prof.cirio.simon@gmail.com</span></b></a></span><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" lang="ES" style="mso-ansi-language: ES; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN; mso-font-kerning: 1.0pt;">DISSERTAÇÃO: A Prática Democrática</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="http://www.lume.ufrgs.br/handle/10183/1445"><span face=""Segoe UI",sans-serif" style="color: blue; font-size: 10pt;">http://www.lume.ufrgs.br/handle/10183/1445</span></a></span><span face=""Segoe UI",sans-serif" style="color: black; font-size: 10pt; mso-fareast-language: ZH-CN;"> </span><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span face=""Segoe UI",sans-serif" style="color: black; mso-bidi-font-size: 10.0pt; mso-fareast-language: ZH-CN;">TESE</span></b><b style="mso-bidi-font-weight: normal;"><span face=""Segoe UI",sans-serif" style="color: black; font-size: 10pt; mso-fareast-language: ZH-CN;">: Origens do
Instituto de Artes da UFRGS</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="http://www.lume.ufrgs.br/handle/10183/2632"><span face=""Segoe UI",sans-serif" style="color: blue; font-size: 10pt;">http://www.lume.ufrgs.br/handle/10183/2632</span></a></span><span face=""Segoe UI",sans-serif" style="color: black; font-size: 10pt; mso-fareast-language: ZH-CN;"> </span><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">FACE- BOOK </span></b><span lang="EN-US" style="mso-ansi-language: EN-US; mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="https://www.facebook.com/cirios2"><span face=""Arial Narrow",sans-serif" lang="EN-US" style="color: navy; mso-ansi-language: EN-US; mso-bidi-font-family: "Arial Narrow";">https://www.facebook.com/cirios2</span></a></span><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" lang="EN-US" style="mso-ansi-language: EN-US; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">BLOG de ARTE</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><span style="mso-spacerun: yes;"> </span></span><span style="mso-fareast-language: ZH-CN;"><a href="http://profciriosimon.blogspot.com.br/"><span face=""Arial Narrow",sans-serif" style="color: navy; mso-bidi-font-family: "Arial Narrow";">http://profciriosimon.blogspot.com.br/</span></a></span><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">BLOG de FAMÌLIA</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="http://mathiassimon1829.blogspot.com.br/"><span face=""Arial Narrow",sans-serif" style="color: navy; mso-bidi-font-family: "Arial Narrow";">http://mathiassimon1829.blogspot.com.br/</span></a></span><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">BLOG<span style="mso-spacerun: yes;"> </span>CORREIO
BRAZILENSE 1808-1822</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="http://naofoinogrito.blogspot.com.br/"><span face=""Arial Narrow",sans-serif" style="color: navy; mso-bidi-font-family: "Arial Narrow"; mso-font-kerning: 1.0pt;">http://naofoinogrito.blogspot.com.br/</span></a></span><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">BLOG PODER ORIGINÁRIO 01</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="http://poder-originario.webnode.com/"><span face=""Arial Narrow",sans-serif" style="color: navy; mso-bidi-font-family: "Arial Narrow"; mso-fareast-font-family: Calibri;">http://poder-originario.webnode.com/</span></a></span><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">BLOG PODER ORIGINÁRIO 02 ARQUIVO</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><span style="mso-fareast-language: ZH-CN;"><a href="http://prof-cirio-simon.webnode.com/"><span face=""Arial Narrow",sans-serif" style="color: navy; mso-bidi-font-family: "Arial Narrow";">http://prof-cirio-simon.webnode.com/</span></a></span><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" style="mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></b></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; tab-stops: 219.75pt; text-align: center;"><b style="mso-bidi-font-weight: normal;"><span face=""Arial Narrow",sans-serif" lang="ES-CL" style="mso-ansi-language: ES-CL; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">VÌDEO</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="line-height: 150%; mso-hyphenate: none; tab-stops: 219.75pt; text-align: center; text-indent: 2.25pt;"><span face=""Arial Narrow",sans-serif" style="color: black; mso-ansi-language: ES-CL; mso-bidi-font-family: "Arial Narrow"; mso-fareast-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><span style="mso-spacerun: yes;"> </span></span><span style="mso-fareast-language: ZH-CN;"><a href="http://www.youtube.com/watch?v=qdqXEg7ugxA"><span face=""Arial Narrow",sans-serif" lang="ES-CL" style="color: navy; mso-ansi-language: ES-CL; mso-bidi-font-family: "Arial Narrow";">http://www.youtube.com/watch?v=qdqXEg7ugxA</span></a></span><span face=""Arial Narrow",sans-serif" lang="ES-CL" style="font-size: 11pt; line-height: 150%; mso-ansi-language: ES-CL; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;"><span face=""Arial Black",sans-serif" style="font-size: 14pt; mso-bidi-font-family: "Arial Black"; mso-fareast-language: ZH-CN;">.</span><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></p>Prof. Círio Simonhttp://www.blogger.com/profile/06566693954184732946noreply@blogger.com0tag:blogger.com,1999:blog-1362905750550965943.post-72179475976175360292020-07-02T04:49:00.002-07:002020-07-07T14:05:24.370-07:00286 - CENTENA de SESSÕES<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-family: "arial black" , sans-serif;"><span style="font-size: x-large;">O GRUPO de PESQUISAS
da AAMARGS vai ALÉM de uma CENTENA de SESSÕES VIRTUAI</span></span><span style="font-family: "arial black" , "sans-serif"; font-size: 22.0pt;">S </span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<b><span style="font-family: "arial black" , "sans-serif"; font-size: 22.0pt;"><br /></span></b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQm5YN-SqZqSF0f2-DRwQKLM7R2OzoqiMMJ7yrJ8U-kbsm2r7-SjcA2ZiAABZ9eyI2ygrSfDRCm2hNFpZQuP4_kMnXQ-vcE_5GYyGLor_fYy58ntN64H01Mgw3WUaVWNm_J37KXnwfGGn7/s1600/01++-+SEELINGER%252C+Helios+1878-1965+-+pelo+Rio+Grande+Pelo+Brasil.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="682" data-original-width="1136" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQm5YN-SqZqSF0f2-DRwQKLM7R2OzoqiMMJ7yrJ8U-kbsm2r7-SjcA2ZiAABZ9eyI2ygrSfDRCm2hNFpZQuP4_kMnXQ-vcE_5GYyGLor_fYy58ntN64H01Mgw3WUaVWNm_J37KXnwfGGn7/s400/01++-+SEELINGER%252C+Helios+1878-1965+-+pelo+Rio+Grande+Pelo+Brasil.jpg" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "verdana" , "sans-serif"; font-size: 10.0pt;">Helios
SEELINGER (1878-1965) – “<i>Pelo Rio Grande
Pelo Brasil</i>”</span><span style="font-family: "verdana" , "sans-serif"; font-size: 11.0pt;"><o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center; text-indent: -7.1pt;">
<span style="color: #c00000; font-family: "arial" , "sans-serif"; mso-fareast-language: ZH-CN;">Fig. 01 - <b>O GRUPO DE PESQUISAS da AMARGS movimenta-se
- presencial ou virtualmente - sob presença
viva ou a memória das ARTES VISUAIS do RIO GRANDE do SUL. Neste movimento
sente-se integrado na consciência coletiva brasileira <o:p></o:p></b></span></div>
<div align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center; text-indent: -7.1pt;">
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<span style="font-family: "verdana" , "sans-serif"; font-size: 14.0pt; line-height: 150%;">Apresenta-se
um SUMÁRIO das POSTAGENS no FACE BOOK realizadas por Círio SIMON. no período de 12 de março até 30
de junho de 2020, em substituição à sessões presenciais do GRUPO DE PESQUISA da
AAMARGS<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkpb-q6O0IutCA_WwvzqoruVtw7l7h7C0fEAvAhqxz8GxB6_886csYJTOtGw3bYJwWvM5ftfTrmvWHKBQNbBrDVp2V6iX9p6qm4-cvqjGaeyUzf1nYH7gTjDFmHROSSrsAfkOl6Br-BriT/s1600/02+-+DSC08551.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkpb-q6O0IutCA_WwvzqoruVtw7l7h7C0fEAvAhqxz8GxB6_886csYJTOtGw3bYJwWvM5ftfTrmvWHKBQNbBrDVp2V6iX9p6qm4-cvqjGaeyUzf1nYH7gTjDFmHROSSrsAfkOl6Br-BriT/s400/02+-+DSC08551.JPG" width="400" /></a></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 02 - As</span><b style="color: #c00000; font-family: Arial, sans-serif;"> sessões presenciais do GRUPO DE PESQUISAS
da AAMARGS ocorreram a convite de sua diretoria e do firme apoio do Núcleo de
DOCUMENTAÇÃO e PESQUISA do MUSEU de ARTE do RIO GRANDE do SUL </b><span style="color: #c00000; font-family: "arial" , sans-serif;">A presença
continuada da Diretoria da AAMARGS como da prestança do Chefia do Núcleo do
MARGS garantiram a continuidade e o alto nível destas sessões presenciais</span><b><span style="color: #0070c0; font-family: "arial" , "sans-serif";"><o:p></o:p></span></b></div>
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<b><span style="color: #c00000; font-family: "arial black" , "sans-serif"; font-size: 14.0pt;">MARÇO de 2020<o:p></o:p></span></b></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">13 de março de 2020: </span><span style="font-family: "verdana" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">SESSÃO
PRESENCIAL</span><span style="font-family: "verdana" , "sans-serif"; mso-fareast-language: ZH-CN;"> <o:p></o:p></span></div>
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<span style="font-family: "verdana" , "sans-serif"; mso-fareast-language: ZH-CN;"><a href="https://www.facebook.com/photo.php?fbid=866935027088984&set=gm.2536431433241712&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=866935027088984&set=gm.2536431433241712&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="font-family: "verdana" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">17 de março de 2020:</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "verdana" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">Francis
PELICHEK </span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">“VERNISSAGEM”</span><span style="font-family: "verdana" , "sans-serif"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">18 de março de 2020:</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span class="hascaption"><span style="background: white; color: #1c1e21; font-family: "arial black" , "sans-serif";">Francis PELICHEK
</span></span><span class="hascaption"><i><span style="background: white; color: #1c1e21; font-family: "arial narrow" , "sans-serif";">“Baile em São Marcos”</span></i></span><span class="hascaption"><span style="background: white; color: #1c1e21; font-family: "arial narrow" , "sans-serif";"> óleo sobre tela
1924</span></span><span style="background: white; color: #1c1e21; font-family: "arial narrow" , "sans-serif";"><o:p></o:p></span></div>
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<u><span style="color: #1155cc; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=:870313126751174&set=gm.2540313732853482&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=:870313126751174&set=gm.2540313732853482&type=3&theater&ifg=1</a></span></u><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">19 de
março de 2020: </span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="background: white; color: #1c1e21; font-family: "arial black" , "sans-serif";">Pedro WEINGÄRTNER </span><span style="background: white; color: #1c1e21; font-family: "arial narrow" , "sans-serif";">(1853-1929)</span><span style="background: white; color: #1c1e21; font-family: "arial black" , "sans-serif";"> <o:p></o:p></span></div>
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<i><span style="background: white; color: #1c1e21; font-family: "arial narrow" , "sans-serif";">“Vendedor de Bananas”</span></i><span style="background: white; color: #1c1e21; font-family: "arial narrow" , "sans-serif";"> 1920 - óleo 31 x 49 cm</span><span style="color: #5f6368; font-family: "arial narrow" , "sans-serif"; letter-spacing: 0.25pt;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=871036803345473&set=gm.2541174096100779&type=3&theater&ifg=1" target="_blank"><span style="color: #1155cc;">https://www.facebook.com/photo.php?fbid=871036803345473&set=gm.2541174096100779&type=3&theater&ifg=1</span></a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">20 de março de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">:</span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #222222; font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><span style="font-family: "arial black" , "sans-serif"; letter-spacing: -1.5pt;">OSCAR BOEIRA </span><span style="font-family: "arial narrow" , "sans-serif"; letter-spacing: -1.5pt;">(1883-194<span style="color: grey;">3</span><i>) - “</i></span><i><span style="color: #666666; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold;">Harmonia
Dourada”</span></i><span style="color: #666666; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold;">, - sem
data | óleo sobre cartão | 10 x 23 cm | </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=871762623272891&set=gm.2542081049343417&type=3&theater&ifg=1" target="_blank"><span style="color: #1155cc;">https://www.facebook.com/photo.php?fbid=871762623272891&set=gm.2542081049343417&type=3&theater&ifg=1</span></a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">20 de março de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">Waldeny ELIAS</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"> ( 1931-2010) </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=872496103199543&set=gm.2542987242586131&type=3&theater&ifg=1" target="_blank"><span style="color: #1155cc;">https://www.facebook.com/photo.php?fbid=872496103199543&set=gm.2542987242586131&type=3&theater&ifg=1</span></a></span><i><span style="font-family: "arial narrow" , "sans-serif"; letter-spacing: -1.5pt;"><o:p></o:p></span></i></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">22 de março de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">:</span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #222222; font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">Marciano
SCHMITZ</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: quando a NATUREZA e a ARTE se ENTENDEM e RESPEITAM RECIPROCAMENTE<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=873232676459219&set=gm.2543999835818205&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=873232676459219&set=gm.2543999835818205&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=873232676459219&set=gm.2543999835818205&type=3&theater&ifg=1" target="_blank"><span style="color: #1155cc;">https://www.facebook.com/photo.php?fbid=873232676459219&set=gm.2543999835818205&type=3&theater&ifg=1</span></a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">23 de março de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">:</span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">Quando
ARQUITETURA ainda queria SER ARTE</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"> no RIO GRANDE do SUL <o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=873936823055471&set=gm.2544958579055664&type=3&theater&ifg=1" target="_blank"><span style="color: #1155cc;">https://www.facebook.com/photo.php?fbid=873936823055471&set=gm.2544958579055664&type=3&theater&ifg=1</span></a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">24 de março de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">:</span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><b><span style="font-family: "arial black" , "sans-serif"; mso-bidi-font-style: italic;">FORMATURA
da PRIMEIRA TURMA de URBANISTAS do BRASI</span></b><b><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-style: italic;">L com FORMAÇÂO SUPERIOR ESPECIFICA no Instituto de Belas Artes do Rio
Grande do Sul no dia 13 de abril de1949<o:p></o:p></span></b></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=874646529651167&set=gm.2545877272297128&type=3&theater&ifg=1" target="_blank"><span style="color: #1155cc;">https://www.facebook.com/photo.php?fbid=874646529651167&set=gm.2545877272297128&type=3&theater&ifg=1</span></a><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKrYC3EqAvbUDfMqz3x-V1bZB9MshuVfff6zgm88PL0MOFGfbbi1cpIIFPWziWcVbISCZrjIQcKi5fPjP5FVAhdWxcn1tg-EnPzOWDjw64PU1U6epIZwyq0QUhAAk1bVh49HZ3-pse2dVi/s1600/03+-+2016.09.22+-+AAMARGS++no+ACERVO+do+MARGS+P+%25281%2529.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKrYC3EqAvbUDfMqz3x-V1bZB9MshuVfff6zgm88PL0MOFGfbbi1cpIIFPWziWcVbISCZrjIQcKi5fPjP5FVAhdWxcn1tg-EnPzOWDjw64PU1U6epIZwyq0QUhAAk1bVh49HZ3-pse2dVi/s400/03+-+2016.09.22+-+AAMARGS++no+ACERVO+do+MARGS+P+%25281%2529.JPG" width="400" /></a></div>
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<span style="font-family: "arial narrow" , sans-serif;"><span style="font-size: 9pt;"><b>Grupo de </b></span><span style="font-size: 12px;"><b>PESQUISAS</b></span><span style="font-size: 9pt;"><b> da AAMARGS no ACERVO do MARGS no dia 22 .09. 2016<o:p></o:p></b></span></span></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 03 - </span><b style="color: #c00000; font-family: Arial, sans-serif;">As sessões presenciais do GRUPO DE
PESQUISAS da AAMARGS realizam-se no recinto do </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>prédio</b></span><b style="color: #c00000; font-family: Arial, sans-serif;"> do MARGS </b><span style="color: #c00000; font-family: "arial" , sans-serif;">Este fato
não só garantiram a presença dos técnicos-administrativos da instituição, como a possibilidade de conhecer os diversos núcleos co foi a visita ao acervo e ou
ouvir as explicações do seu dirigente</span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">25 de março de 2020</span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="color: #222222; font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><b><span style="font-family: "arial black" , "sans-serif"; mso-bidi-font-style: italic;">QUANDO
uma OBRA de ARTE DESAFIA o TEMPO</span></b><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"> Vasco PRADO
(1914-1998) - Mural do Palácio Farroupilha<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=875360452913108&set=gm.2546805498870972&type=3&theater&ifg=1" target="_blank"><span style="color: #1155cc;">https://www.facebook.com/photo.php?fbid=875360452913108&set=gm.2546805498870972&type=3&theater&ifg=1</span></a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">25 de março de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">:</span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><b><span style="font-family: "arial black" , "sans-serif"; mso-bidi-font-style: italic;">GRUPO de PESQUISAS da AMARGS</span></b><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=518020965059137&set=gm.1775648369320026&type=3&theater&ifg=1" target="_blank"><span style="color: #1155cc;">https://www.facebook.com/photo.php?fbid=518020965059137&set=gm.1775648369320026&type=3&theater&ifg=1</span></a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">26 de março de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">:</span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><b><span style="font-family: "arial black" , "sans-serif";">ARTISTA
DEVE IR para a UNIVERSIDADE</span></b><b><span style="font-family: "arial narrow" , "sans-serif";">.<o:p></o:p></span></b></div>
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<span style="font-family: "arial narrow" , "sans-serif";"><a href="https://www.facebook.com/photo.php?fbid=876064562842697&set=gm.2547686878782834&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=876064562842697&set=gm.2547686878782834&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">27 de março de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><b><span style="font-family: "arial black" , "sans-serif";">Uma
visita à POMONA de IRAI.</span></b><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=876777296104757&set=gm.2548591025359086&type=3&theater&ifg=1" target="_blank"><span style="color: #1155cc;">https://www.facebook.com/photo.php?fbid=876777296104757&set=gm.2548591025359086&type=3&theater&ifg=1</span></a><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">28 de março de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">:</span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">As
PIONEIRAS<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=877497542699399&set=gm.2549490441935811&type=3&theater&ifg=1" target="_blank"><span style="color: #1155cc;">https://www.facebook.com/photo.php?fbid=877497542699399&set=gm.2549490441935811&type=3&theater&ifg=1</span></a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">29 de março de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">QUATRO MESTRES, QUATRO CAMINHOS e uma CONVERGÊNCIA.<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=878183885964098&set=gm.2550418051843050&type=3&theater&ifg=1" target="_blank"><span style="color: #1155cc;">https://www.facebook.com/photo.php?fbid=878183885964098&set=gm.2550418051843050&type=3&theater&ifg=1</span></a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">30 de março de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">:</span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">APARECE
MAIS uma OBRA de ARAÚJO PORTO-ALEGRE</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"> <o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=878870812562072&set=gm.2551338328417689&type=3&theater&ifg=1" target="_blank"><span style="color: #1155cc;">https://www.facebook.com/photo.php?fbid=878870812562072&set=gm.2551338328417689&type=3&theater&ifg=1</span></a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">21 de março de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">:</span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #222222; font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"> As suaves tertúlias das sessões virtuais do
GRUPO de PESQUISAS da AAMARGS prosseguem com:<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><a href="https://profciriosimon.blogspot.com/2020/03/284-isto-e-arte.html">https://profciriosimon.blogspot.com/2020/03/284-isto-e-arte.html</a><o:p></o:p></span></div>
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<span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">Judite
FORTES </span><span style="font-family: "arial black" , "sans-serif";"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="http://profciriosimon.blogspot.com/2018/05/230-estudos-de-arte.html" target="_blank"><span style="color: #1155cc;">http://profciriosimon.blogspot.com/2018/05/230-estudos-de-arte.html</span></a><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=879525659163254&set=gm.2552209298330592&type=3&theater&ifg=1" target="_blank"><span style="color: #1155cc;">https://www.facebook.com/photo.php?fbid=879525659163254&set=gm.2552209298330592&type=3&theater&ifg=1</span></a><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjobN5WsHNteKZ-Gcn7_6qcFr4KkV9L_MlX7LmHiofM0cVMBlTcBAMQb1sCctNVGbHUi90rHYRW8ClNf35yWwReye1TpkW4OyXkeXqMJ9K6w6Ra-R6Tv960rR4QtRssPWmJNhvqD8QHalc1/s1600/04+-+MARGS+-+Curso+de+Hist%25C3%25B3ria+da+Arte+24.10.2019.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1046" data-original-width="1600" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjobN5WsHNteKZ-Gcn7_6qcFr4KkV9L_MlX7LmHiofM0cVMBlTcBAMQb1sCctNVGbHUi90rHYRW8ClNf35yWwReye1TpkW4OyXkeXqMJ9K6w6Ra-R6Tv960rR4QtRssPWmJNhvqD8QHalc1/s400/04+-+MARGS+-+Curso+de+Hist%25C3%25B3ria+da+Arte+24.10.2019.jpg" width="400" /></a></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 04 - </span><b style="color: #c00000; font-family: Arial, sans-serif;">Alem dos sessões presenciais o GRUPO DE
PESQUISAS da AAMARGS </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>convidou</b></span><b style="color: #c00000; font-family: Arial, sans-serif;"> sempre especialistas e pessoas experientes ARTES
VISUAIS do RIO GRANDE do SUL</b><span style="color: #c00000; font-family: "arial" , sans-serif;">. Alguns temas mereceram desdobramento e
ampliação para cursos específicos para um publico externo ao grupo<o:p></o:p></span></div>
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<b><span style="color: #c00000; font-family: "arial black" , "sans-serif"; font-size: 14.0pt;">ABRIL de 2020<o:p></o:p></span></b></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">01 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">:</span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #222222; font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><span style="font-family: "arial narrow" , "sans-serif";"> ARTES VISUAIS do Rio Grande do Sul<o:p></o:p></span></div>
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<span style="font-family: "arial black" , "sans-serif";">NÂO EXISTE DIA da MENTIRA em
ARTE<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><a href="https://www.facebook.com/photo.php?fbid=880219382427215&set=gm.2553071718244350&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=880219382427215&set=gm.2553071718244350&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><a href="https://profciriosimon.blogspot.com/2020/03/284-isto-e-arte.html">https://profciriosimon.blogspot.com/2020/03/284-isto-e-arte.html</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">02 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">:</span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #222222; font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><span style="font-family: "arial narrow" , "sans-serif";"> </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><span style="font-family: "arial narrow" , "sans-serif";"> </span><span style="font-family: "arial black" , "sans-serif";">EDLA
HOFFSTETER da SILVA</span><span style="font-family: "arial narrow" , "sans-serif";"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="http://profciriosimon.blogspot.com/2011/09/isto-e-arte-007.html" target="_blank"><span style="color: #1155cc;">http://profciriosimon.blogspot.com/2011/09/isto-e-arte-007.html</span></a><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=880884615694025&set=gm.2553944118157110&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=880884615694025&set=gm.2553944118157110&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">03 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">:</span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #222222; font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><span style="font-family: "arial narrow" , "sans-serif";"> </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><span style="font-family: "arial narrow" , "sans-serif";"> ARTES VISUAIS do Rio Grande do Sul<o:p></o:p></span></div>
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<span style="font-family: "arial black" , "sans-serif";">DIREITO à PESQUISA, ATUALIZAÇÂO
da INTELIGÊNCIA CONSCIÊNCIA COLETIVA</span><span style="font-family: "arial narrow" , "sans-serif";">
<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif";"><a href="https://www.facebook.com/photo.php?fbid=881565245625962&set=gm.2554795504738638&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=881565245625962&set=gm.2554795504738638&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">04 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">:</span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #222222; font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><span style="font-family: "arial narrow" , "sans-serif";"> ARTES
VISUAIS do Rio Grande do Sul<o:p></o:p></span></div>
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<span style="font-family: "arial black" , "sans-serif";">OBJETIVOS do GRUPO de PESQUISAS
da AAMARGS<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif";"><a href="https://www.facebook.com/photo.php?fbid=882245992224554&set=gm.2555649067986615&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=882245992224554&set=gm.2555649067986615&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">05 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">:</span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #222222; font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><span style="font-family: "arial narrow" , "sans-serif";"> </span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="font-family: "arial narrow" , "sans-serif";">ARTES VISUAIS do Rio Grande do
Sul<o:p></o:p></span></div>
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<span style="font-family: "arial black" , "sans-serif";">PINTURA; tinta sobre uma
superfície</span><span style="font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=882875632161590&set=gm.2556549724563216&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=882875632161590&set=gm.2556549724563216&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">06 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">:</span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #222222; font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><span style="font-family: "arial narrow" , "sans-serif";"> </span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="font-family: "arial narrow" , "sans-serif";">ARTES VISUAIS do Rio Grande do
Sul<o:p></o:p></span></div>
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<span style="font-family: "arial black" , "sans-serif";">TESTAMENTO de DOIS PINTORES</span><span style="font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif";"><a href="https://www.facebook.com/photo.php?fbid=883615698754250&set=gm.2557446764473512&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=883615698754250&set=gm.2557446764473512&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"> 07 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">:</span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #222222; font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><span style="font-family: "arial narrow" , "sans-serif";"> </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><span style="font-family: "arial narrow" , "sans-serif";">ARTES VISUAIS do Rio Grande do
Sul<o:p></o:p></span></div>
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<span style="font-family: "arial black" , "sans-serif";">ACASO NÃO é ARTE</span><span style="font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif";"><a href="https://www.facebook.com/photo.php?fbid=884307935351693&set=gm.2558302124387976&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=884307935351693&set=gm.2558302124387976&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">08 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">:</span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #222222; font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><span style="font-family: "arial narrow" , "sans-serif";"> </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="font-family: "arial narrow" , "sans-serif";">ARTES VISUAIS do Rio Grande do
Sul<o:p></o:p></span></div>
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<span style="font-family: "arial black" , "sans-serif";">Dom Vicente</span><span style="font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"> por </span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #1c1e21; font-family: "arial black" , sans-serif;">Wilhelm Luiz Heirich August TESCHMEIR</span><span style="font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif";"><a href="https://www.facebook.com/photo.php?fbid=884988398616980&set=gm.2559232547628267&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=884988398616980&set=gm.2559232547628267&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">09 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">:</span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #222222; font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><span style="font-family: "arial narrow" , "sans-serif";"> </span><span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;"> </span><span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">DESCENTRALIZANDO as ARTES VISUAIS do
Rio Grande do Sul<o:p></o:p></span></div>
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<span style="background: white; color: #1c1e21; font-family: "arial black" , "sans-serif"; font-size: 11.0pt;">FRANZ AUGUST STEINBACHER (1887-1937)</span><span style="font-family: "arial black" , "sans-serif"; font-size: 11.0pt;"> ÚLTIMA
CEIA - Rio Pardo<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;"><a href="https://www.facebook.com/photo.php?fbid=885647755217711&set=gm.2560098707541651&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=885647755217711&set=gm.2560098707541651&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">10 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">:</span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #222222; font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><span style="font-family: "arial narrow" , "sans-serif";"> </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;"> </span><span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">DESCENTRALIZANDO as ARTES VISUAIS do
Rio Grande do Sul<o:p></o:p></span></div>
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<span style="font-family: "arial black" , "sans-serif"; font-size: 11.0pt;">ECCE HOMO _
Manuel Araújo Porto-alegre </span><span style="color: #1c1e21; font-family: "arial black" , sans-serif; font-size: 11pt;">(1809-1879</span><span style="font-family: "arial black" , "sans-serif"; font-size: 11.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;"><a href="https://www.facebook.com/photo.php?fbid=886314458484374&set=gm.2560992600785595&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=886314458484374&set=gm.2560992600785595&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">11 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;"> DESCENTRALIZANDO
as ARTES VISUAIS do Rio Grande do Sul<o:p></o:p></span></div>
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<span style="color: #1d2129; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Helvetica;">HISTÓRIA do RETRATO no RIO GRANDE do SUL no século XIX.</span><span style="font-family: "arial narrow" , "sans-serif";"><o:p></o:p></span></div>
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<span style="font-family: "arial black" , "sans-serif"; font-size: 11.0pt;">SEELOW retrato
de indígena 1825</span><span style="font-family: "arial black" , "sans-serif"; font-size: 11.0pt;"><o:p></o:p></span></div>
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<span style="background: white; color: #1c1e21; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">HISTÓRIA do RETRATO no RIO GRANDE do
SUL no século XIX</span><span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;"><a href="https://www.facebook.com/photo.php?fbid=886960235086463&set=gm.2561871827364339&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=886960235086463&set=gm.2561871827364339&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="background: white; color: #1c1e21; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;"><br />
</span><span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">12 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial narrow" , "sans-serif";">ARTES
VISUAIS do Rio Grande do Sul<o:p></o:p></span></div>
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<span style="color: #1d2129; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Helvetica;">HISTÓRIA do RETRATO no RIO GRANDE do SUL no século XIX.</span><span style="font-family: "arial narrow" , "sans-serif";"><o:p></o:p></span></div>
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<span style="font-family: "arial black" , "sans-serif";">AUTORRETRATO MANUEL ARAÚJO
PORTO-ALEGRE</span><span style="font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=887691331680020&set=gm.2562826907268831&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=887691331680020&set=gm.2562826907268831&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">13 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">:</span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="font-family: "arial narrow" , "sans-serif";">ARTES
VISUAIS do Rio Grande do Sul<o:p></o:p></span></div>
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<span style="color: #1d2129; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Helvetica;">HISTÓRIA do RETRATO no RIO GRANDE do SUL no século XIX.</span><span style="font-family: "arial narrow" , "sans-serif";"><o:p></o:p></span></div>
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<span style="font-family: "arial black" , "sans-serif";">CONDE de PORTO ALEGRE por
Adriano Pittanti</span><span style="font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=888412411607912&set=gm.2563774343840754&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=888412411607912&set=gm.2563774343840754&type=3&theater&ifg=1</a></span><span style="font-family: "arial narrow" , "sans-serif";"><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">14 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="font-family: "arial narrow" , "sans-serif";">DESCENTRALIZANDO as ARTES VISUAIS
do Rio Grande do Sul<o:p></o:p></span></div>
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<span style="font-family: "arial black" , "sans-serif";">TÚMULO de PITTANTI</span><span style="font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"> “</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #1c1e21; font-family: "arial black" , sans-serif;">A ESPERA de
TUTTI QUANTI”</span><span style="font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=889139814868505&set=gm.2564726407078881&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=889139814868505&set=gm.2564726407078881&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-H4oFsaoEFkYR36ewK_bOizcO8bXSg0L7h7dDSX14TCU0GhlgZqiSwwyQJq6oUAp3J3Fr58leIsuQ1uvx3m9aSPv-Kc7StGAWfOfZ9O69x5seHl-mauM2aeDpaHDxNFxLjdgE25pyxCUZ/s1600/05+-++2019.11.28+%25C3%259Altimo+dia+do+Cuurso+HISTORIA+das+ARTES++VISUAIS+do+RIO+GRANDE+do+SUL+%25281%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="689" data-original-width="1600" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-H4oFsaoEFkYR36ewK_bOizcO8bXSg0L7h7dDSX14TCU0GhlgZqiSwwyQJq6oUAp3J3Fr58leIsuQ1uvx3m9aSPv-Kc7StGAWfOfZ9O69x5seHl-mauM2aeDpaHDxNFxLjdgE25pyxCUZ/s400/05+-++2019.11.28+%25C3%259Altimo+dia+do+Cuurso+HISTORIA+das+ARTES++VISUAIS+do+RIO+GRANDE+do+SUL+%25281%2529.jpg" width="400" /></a></div>
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<span style="font-family: "arial narrow" , "sans-serif"; font-size: 9.0pt;">Último
dia do Curso HISTORIA das ARTES VISUAIS
do RIO GRANDE do SUL 28.11.2019<o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 05 - </span><b style="color: #c00000; font-family: Arial, sans-serif;">Nos cursos </b><span style="color: #c00000; font-family: "arial" , sans-serif;"> <b>específicos</b></span><b style="color: #c00000; font-family: Arial, sans-serif;"> para um público externo ao</b> <b style="color: #c00000; font-family: Arial, sans-serif;"> GRUPO DE PESQUISAS da AAMARGS este socializa
as suas </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>próprias</b></span><b style="color: #c00000; font-family: Arial, sans-serif;"> investigações as ARTES
VISUAIS do RIO GRANDE do SUL além de convidar </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>especialistas</b></span><b style="color: #c00000; font-family: Arial, sans-serif;"> </b><span style="color: #c00000; font-family: "arial" , sans-serif;">Estes cursos possuem o objetivo de atualizar a
inteligência sul-rio-grandense em
relação aos potenciais campos de pesquisas das ARTES VISUAIS</span><b style="color: #c00000; font-family: Arial, sans-serif;">.</b><b><span style="color: #0070c0; font-family: "arial" , "sans-serif";"><o:p></o:p></span></b></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">15 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial narrow" , "sans-serif";">DESCENTRALIZANDO as ARTES
VISUAIS do Rio Grande do Sul<o:p></o:p></span></div>
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<span style="background: white; color: #1c1e21; font-family: "arial black" , "sans-serif";">Silvestre PECIAR BASIACO (1935-2017)</span><span style="font-family: "arial black" , "sans-serif";"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=889927984789688&set=gm.2565739296977592&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=889927984789688&set=gm.2565739296977592&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">16 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial narrow" , "sans-serif";">DESCENTRALIZANDO as ARTES
VISUAIS do Rio Grande do Sul</span><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
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<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #1c1e21; font-family: "arial black" , sans-serif;">Vasco PRADO (1914-1998) NEGRINHO do PASTOREIO </span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #1c1e21; font-family: "arial narrow" , sans-serif;">– ALEGRETE -RS</span><span style="font-family: "arial narrow" , "sans-serif";"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=890621374720349&set=gm.2566628346888687&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=890621374720349&set=gm.2566628346888687&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">17 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><b><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Verdana;"> </span></b><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Verdana;">DESCENTRALIZAR a ARTE do RIO GRANDE do SUL<o:p></o:p></span></div>
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<span style="font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Verdana;">Ruth SCHNEIDER (1943-2003</span><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Verdana;">)
Passo Fundo -RS<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Verdana;"><a href="https://www.facebook.com/photo.php?fbid=891398041309349&set=gm.2567642943453894&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=891398041309349&set=gm.2567642943453894&type=3&theater&ifg=1</a></span><b><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-style: italic;"><o:p></o:p></span></b></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">18 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial narrow" , "sans-serif";">DESCENTRALIZANDO as ARTES
VISUAIS do Rio Grande do Sul<o:p></o:p></span></div>
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<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #1c1e21; font-family: "arial black" , sans-serif;">Justina Maria KERNER POHLMANN (1843-1941)</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #1c1e21; font-family: "arial narrow" , sans-serif;"><br />
</span><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=892173991231754&set=gm.2568649226686599&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=892173991231754&set=gm.2568649226686599&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">19 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial narrow" , "sans-serif";">ARTES VISUAIS do Rio Grande do
SUL<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif";"><a href="https://www.facebook.com/photo.php?fbid=893157541133399&set=gm.2569951536556368&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=893157541133399&set=gm.2569951536556368&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="font-family: "arial black" , "sans-serif";">TRINTA DIAS de SESSÔES VIRTUAIS
ININTERRUPTAS <o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">18 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial narrow" , "sans-serif";">DESCENTRALIZANDO as ARTES
VISUAIS do Rio Grande do Sul.<o:p></o:p></span></div>
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<span style="font-family: "arial black" , "sans-serif";">MONUMENTO à INDEPENDÊNCIA SANTA
CRUZ do SUL</span><span style="font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
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<span style="background: white; color: #1c1e21; font-family: "arial narrow" , "sans-serif";">Um MONUMENTO PÚBLICO QUE REMANESCEU ao
CENTENÁRIO da INDEPENDÊNCIA do BRASIL de 1922 no RIO GRANDE do SUL</span><span style="font-family: "arial narrow" , "sans-serif";"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=892894414493045&set=gm.2569626613255527&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=892894414493045&set=gm.2569626613255527&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<br /></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">20 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial narrow" , "sans-serif";">DESCENTRALIZANDO as ARTES
VISUAIS do Rio Grande do Sul<o:p></o:p></span></div>
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<span style="font-family: "arial black" , "sans-serif";">Monumento COLUNA PRESTES </span><span style="font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #1c1e21; font-family: "arial narrow" , sans-serif;">Oscar NIEMEYER
em SANTO ÂNGELO - RS</span><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=893607204421766&set=gm.2570566039828251&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=893607204421766&set=gm.2570566039828251&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<br /></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">21 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial narrow" , "sans-serif";">ARTES
VISUAIS do Rio Grande do Sul.<o:p></o:p></span></div>
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<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #1c1e21; font-family: "arial narrow" , sans-serif;">Imagem </span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #1c1e21; font-family: "arial black" , sans-serif;">MONUMENTO a
TIRADENTES da autoria de Vasco Prado</span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #1c1e21; font-family: "arial narrow" , sans-serif;">.</span><span style="color: #1c1e21; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Helvetica;"><br />
</span><span style="font-family: "arial narrow" , "sans-serif";"><a href="https://arquivopoa.blogspot.com/2010/04/o-tiradentes-de-vasco-prado.html?fbclid=IwAR1LReZHBXI69fGO-ximHm-pfUTWGgpp7NxuCcBOsh7HStj2NfSfCftoOI4" target="_blank"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #385898;">http://arquivopoa.blogspot.com/2010/04/o-tiradentes-de-vasco-prado.html</span></a><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=894231907692629&set=gm.2571384346413087&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=894231907692629&set=gm.2571384346413087&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<br /></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">22 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial narrow" , "sans-serif";"> DESCENTRALIZANDO as ARTES VISUAIS do Rio
Grande do Sul<o:p></o:p></span></div>
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<span lang="ES" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #1c1e21; font-family: "arial black" , sans-serif;">22 de ABRIL de
2020 </span><span lang="ES" style="font-family: "arial black" , "sans-serif"; mso-ansi-language: ES;">IBA-RS 112 anos</span><span lang="ES" style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #1c1e21; font-family: "arial narrow" , sans-serif;"><br />
</span><span style="font-family: "arial narrow" , "sans-serif";"><a href="https://www.facebook.com/photo.php?fbid=894624870986666&set=gm.2571854493032739&type=3&theater&ifg=1"><span lang="ES">https://www.facebook.com/photo.php?fbid=894624870986666&set=gm.2571854493032739&type=3&theater&ifg=1</span></a></span><span lang="ES" style="font-family: "arial narrow" , "sans-serif"; mso-ansi-language: ES;"><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">23 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial narrow" , "sans-serif";">DESCENTRALIZANDO
as ARTES VISUAIS do Rio Grande do Sul</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="font-family: "arial black" , "sans-serif";">CIGARROS MARCA DIABO</span><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=895602144222272&set=gm.2573097652908423&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=895602144222272&set=gm.2573097652908423&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">24 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial narrow" , "sans-serif";"> DESCENTRALIZANDO as ARTES VISUAIS do Rio
Grande do Sul<o:p></o:p></span></div>
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<span style="font-family: "arial black" , "sans-serif";">Adail Bento COSTA Filho</span><span style="font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;">
(Pelotas*1908 +1980)<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif";"><a href="https://www.facebook.com/photo.php?fbid=896346380814515&set=gm.2574030156148506&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=896346380814515&set=gm.2574030156148506&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<br /></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">25 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial narrow" , "sans-serif";"> DESCENTRALIZANDO as ARTES VISUAIS do Rio
Grande do Sul<o:p></o:p></span></div>
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<span style="font-family: "arial black" , "sans-serif";">Paulo Batista SIQUEIRA </span><span style="font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"> (Soledade-RS
*1949 – Chapecó-SC +1996)</span><span style="font-family: "arial black" , "sans-serif";"><o:p></o:p></span></div>
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<span style="color: #333333; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial; mso-font-kerning: 18.0pt;"><a href="https://www.facebook.com/photo.php?fbid=896964600752693&set=gm.2574827076068814&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=896964600752693&set=gm.2574827076068814&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">26 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial narrow" , "sans-serif";"> As SILENCIOSAS ARTES VISUAIS do Rio Grande do
Sul diante dos OLHOS de TODOS<o:p></o:p></span></div>
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<span style="font-family: "arial black" , "sans-serif";">Avatar da SILVA MORAIS </span><span style="font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"> (Bagé *1933
– Rio de Janeiro +2011)<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=897701250679028&set=gm.2575732692644919&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=897701250679028&set=gm.2575732692644919&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<br /></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">27 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial narrow" , "sans-serif";">A
ÉTICA nas ARTES VISUAIS no RIO GRANDE do SUL.</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="font-family: "arial black" , "sans-serif";">Oscar BOEIRA (1883-1943)<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><a href="https://www.facebook.com/photo.php?fbid=898375547278265&set=gm.2576552499229605&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=898375547278265&set=gm.2576552499229605&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<br /></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">28 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial narrow" , "sans-serif";">A VIDA IMITA as ARTES VISUAIS
do RIO GRANDE do SUL</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="font-family: "arial black" , "sans-serif";">Os PERSONAGENS EMPAREDADOS <o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif";">Avatar da SILVA MORAIS </span><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"> (Bagé *1933
– Rio de Janeiro +2011)<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><a href="https://www.facebook.com/photo.php?fbid=899056593876827&set=gm.2577356402482548&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=899056593876827&set=gm.2577356402482548&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">29 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial narrow" , "sans-serif";"> As SILENCIOSAS ARTES VISUAIS do Rio Grande do
Sul declaram a sua VERDADE diante dos OLHOS de TODOS A BELEZA como o ESPLENDOR
da VERDADE.<o:p></o:p></span></div>
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<span style="font-family: "arial black" , "sans-serif";">Clóvis PERETTI ( *Frederico
WASPHALEN-RS, 1935 - + Porto Alegre. 1995)</span><span style="font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "arial narrow" , "sans-serif";"><a href="https://www.facebook.com/photo.php?fbid=899785350470618&set=gm.2578103439074511&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=899785350470618&set=gm.2578103439074511&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<br /></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">30 de abril de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial narrow" , "sans-serif";"> As SILENCIOSAS ARTES VISUAIS do Rio Grande do
Sul diante dos OLHOS de TODOS </span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial narrow" , "sans-serif";"> </span><span style="font-family: "arial black" , "sans-serif";">TODA
OBRA de ARTE é POLÍTICA.<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif";">Manoel Araújo Porto-alegre (Rio
Pardo - RS *1809- Lisboa +1879)</span><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
<div style="text-align: center;">
</div>
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<a href="https://www.facebook.com/photo.php?fbid=900473087068511&set=gm.2578933478991507&type=3&theater&ifg=1" style="font-family: "Arial Narrow", sans-serif;">https://www.facebook.com/photo.php?fbid=900473087068511&set=gm.2578933478991507&type=3&theater&ifg=1</a><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 9.0pt;">T</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjSzDuYcIkcHZ1ZecnWMXiL_YmTsGuxI_txAXF5NtxRpLX4xXzhnqcLLQwB2R4oAA6q9AWnMYkkt9fxeEitiavmPVfTh4v1hpeHquvu-KmQm_e3et6xWPf7bUOcMxly9YumL4Mz_OIo_Uf/s1600/06+-TENISA+ESPINELI+no+GRUPO+de+PESQUISA+das+AAMARFS+em+04.07.2019.j++apg.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="352" data-original-width="1600" height="87" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjSzDuYcIkcHZ1ZecnWMXiL_YmTsGuxI_txAXF5NtxRpLX4xXzhnqcLLQwB2R4oAA6q9AWnMYkkt9fxeEitiavmPVfTh4v1hpeHquvu-KmQm_e3et6xWPf7bUOcMxly9YumL4Mz_OIo_Uf/s400/06+-TENISA+ESPINELI+no+GRUPO+de+PESQUISA+das+AAMARFS+em+04.07.2019.j++apg.JPG" width="400" /></a></div>
TENISA ESPINELI no GRUPO de PESQUISA
da AAMARGS em 04.07.2019.<o:p></o:p><br />
<br />
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 06 - </span><b style="color: #c00000; font-family: Arial, sans-serif;">O GRUPO DE PESQUISAS da AAMARGS é um dos
muitos que investigam as ARTES VISUAIS do RIO GRANDE do SUL </b><span style="color: #c00000; font-family: "arial" , sans-serif;">Um deles é constituído pelo Instituto Cultural Emílio SESSA (ICES) que aporta pesquisas realizadas ao
longo de uma década e convida os seus membros para consolidar informações <o:p></o:p></span></div>
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<b><span style="color: #c00000; font-family: "arial black" , "sans-serif"; font-size: 14.0pt;">MAIO de 2020<o:p></o:p></span></b></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">01 de maio de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: ARTES
VISUAIS do RIO GRANDE do SUL<o:p></o:p></span></div>
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<span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">UNIVERSIADE
de 1963</span><span style="background: white; color: #1c1e21; font-family: "arial black" , "sans-serif";"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><a href="https://www.facebook.com/photo.php?fbid=901214993660987&set=gm.2579833615568160&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=901214993660987&set=gm.2579833615568160&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">02 de maio de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"> ARTES VISUAIS do RIO GRANDE do SUL<o:p></o:p></span></div>
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<span lang="ES" style="background: white; color: #222222; font-family: "arial black" , "sans-serif";">Charles Sebastião MAYER </span><span lang="ES" style="font-family: "arial black" , "sans-serif"; mso-ansi-language: ES; mso-fareast-language: ZH-CN;"> (1933-´-2013
)</span><span lang="ES" style="background: white; color: #222222; font-family: "arial black" , "sans-serif";"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><a href="https://www.facebook.com/photo.php?fbid=901867393595747&set=gm.2580613648823490&type=3&theater&ifg=1"><span lang="ES">https://www.facebook.com/photo.php?fbid=901867393595747&set=gm.2580613648823490&type=3&theater&ifg=1</span></a></span><span lang="ES" style="font-family: "arial narrow" , "sans-serif"; mso-ansi-language: ES; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">03 de maio de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">RECENTES VISITAS de ARTISTAS VISUAIS ao RIO GRANDE
do SUL</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "arial black" , "sans-serif";">JÚLIO PLAZA (*</span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">1939-´+2003
)<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">OCUPANDO
o LUGAR da ESTÁTUA ANTIGA AUSENTE<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><a href="https://www.facebook.com/photo.php?fbid=902581523524334&set=gm.2581451338739721&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=902581523524334&set=gm.2581451338739721&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">04 de maio de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">RECENTES VISITAS de ARTISTAS VISUAIS ao RIO GRANDE
do SUL</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;">TADEUSZ LAPINSKY</span><span style="background: white; color: #222222; font-family: "arial black" , "sans-serif";"> (*</span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">1923-´+2018</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">)<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=903308446784975&set=gm.2582227485328773&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=903308446784975&set=gm.2582227485328773&type=3&theater&ifg=1</a></span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">05 de maio de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">RECENTES VISITAS de ARTISTAS VISUAIS ao RIO GRANDE
do SUL</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;">ALMIR MAVIGNER</span><span style="background: white; color: #222222; font-family: "arial black" , "sans-serif";"> (*</span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">1925 -´+2018</span><span style="color: #222222; font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;">)</span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "arial narrow" , sans-serif;"><a href="https://www.facebook.com/photo.php?fbid=903962296719590&set=gm.2582962965255225&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=903962296719590&set=gm.2582962965255225&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">06 de maio de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: SÓ se AMA
o que se CONHECE:)<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">Um
BUSTO em PRAÇA PÚBLICA de PORTO ALEGRE: </span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">Eduardo GUIMARÃES </span><span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">(1892-1928)<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><a href="https://www.facebook.com/photo.php?fbid=904674806648339&set=gm.2583846131833575&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=904674806648339&set=gm.2583846131833575&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">07 de maio de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: ATUALIZADORES da INTELGÊNCIA ESTÉTICA das
ARTISTAS VISUAIS ao RIO GRANDE do SUL<o:p></o:p></span></div>
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<span lang="DE" style="color: #222222; font-family: "arial black" , "sans-serif"; mso-ansi-language: DE; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold;">WALTER
ZANINI </span><span lang="DE" style="background: white; color: #222222; font-family: "arial black" , "sans-serif";">(*</span><span lang="DE" style="font-family: "arial black" , "sans-serif"; mso-ansi-language: DE; mso-fareast-language: ZH-CN;">1925 -´+2013</span><span lang="DE" style="background: white; color: #222222; font-family: "arial black" , "sans-serif";">)</span><span lang="DE" style="font-family: "arial black" , "sans-serif"; mso-ansi-language: DE; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "arial narrow" , "sans-serif";"><a href="https://www.facebook.com/photo.php?fbid=905334333249053&set=gm.2584582688426586&type=3&theater&ifg=1"><span lang="DE">https://www.facebook.com/photo.php?fbid=905334333249053&set=gm.2584582688426586&type=3&theater&ifg=1</span></a></span><span lang="DE" style="background: white; color: #222222; font-family: "arial narrow" , "sans-serif";"><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">08 de maio de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: ATUALIZADORES da INTELGÊNCIA ESTÉTICA das
ARTISTAS VISUAIS ao RIO GRANDE do SUL<o:p></o:p></span></div>
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<span lang="IT" style="color: #222222; font-family: "arial black" , "sans-serif"; mso-ansi-language: IT; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold;">DÉCIO
PIGNATARI </span><span lang="IT" style="background: white; color: #222222; font-family: "arial black" , "sans-serif";">(*</span><span lang="IT" style="font-family: "arial black" , "sans-serif"; mso-ansi-language: IT; mso-fareast-language: ZH-CN;">1927 -´+2012</span><span lang="IT" style="background: white; color: #222222; font-family: "arial black" , "sans-serif";">)</span><span lang="IT" style="font-family: "arial black" , "sans-serif"; mso-ansi-language: IT; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><a href="https://www.facebook.com/photo.php?fbid=906026639846489&set=gm.2585319911686197&type=3&theater&ifg=1"><span lang="IT">https://www.facebook.com/photo.php?fbid=906026639846489&set=gm.2585319911686197&type=3&theater&ifg=1</span></a></span><span lang="IT" style="font-family: "arial narrow" , "sans-serif"; mso-ansi-language: IT; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">09 de maio de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: PENSADORES das ARTES VISUAIS do RIO GRANDE do
SUL<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">O
MARGS e </span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">o PENSAMENTO de JOÃO CARLOS TIBURSKY </span><span style="font-family: "arial narrow" , "sans-serif"; font-size: 9.0pt;">(</span><span style="font-family: "arial narrow" , "sans-serif"; font-size: 9.0pt;">*</span><span style="font-family: "arial narrow" , "sans-serif"; font-size: 9.0pt;">1950 -
+2011).– ESTUDOS de ARTE</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"> Postagem nº </span><span style="font-family: "arial narrow" , "sans-serif"; font-size: 9.0pt;">223<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><a href="http://profciriosimon.blogspot.com.br/2017/12/208-estudos-de-arte.html"><span style="color: windowtext;">http://profciriosimon.blogspot.com.br/2017/12/208-estudos-de-arte.html</span></a><o:p></o:p></span></div>
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<span style="background: white; font-family: "arial narrow" , "sans-serif";"><a href="https://www.facebook.com/photo.php?fbid=906753786440441&set=gm.2586184754933046&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=906753786440441&set=gm.2586184754933046&type=3&theater&ifg=1</a></span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">10 de maio de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: PENSADORES
das ARTES VISUAIS do RIO GRANDE do SUL<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">O
PENSAMENTO de </span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">Walmir Felix AYALA</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"> (1933-1991).<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">–
ESTUDOS de ARTE Postagem nº 207<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><a href="http://profciriosimon.blogspot.com.br/2017/12/207-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/12/207-estudos-de-arte.html</a><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=907412786374541&set=gm.2586911194860402&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=907412786374541&set=gm.2586911194860402&type=3&theater&ifg=1</a></span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">11 de maio de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: PENSADORES
das ARTES VISUAIS do RIO GRANDE do SUL<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">O PENSAMENTO
de </span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">DOM ANTÔNIO do CARMO CHEUICHE</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"> (1927-2009).<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">Blog::ESTUDOS
de ARTE: postagem nº221 – </span><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Verdana; mso-fareast-language: ZH-CN;"><a href="http://profciriosimon.blogspot.com.br/2017/12/221-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/12/221-estudos-de-arte.html</a></span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><a href="https://www.facebook.com/photo.php?fbid=908156176300202&set=gm.2587742114777310&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=908156176300202&set=gm.2587742114777310&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">12 de maio de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: PENSADORES
das ARTES VISUAIS do RIO GRANDE do SUL<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">O PENSAMENTO
de</span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"> CARLOS SCARINCI</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"> (1932-2015)..– ESTUDOS de ARTE postagem nº-220 </span><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Verdana; mso-fareast-language: ZH-CN;"><a href="http://profciriosimon.blogspot.com.br/2017/11/220-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/11/220-estudos-de-arte.html</a></span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=908851716230648&set=gm.2588545511363637&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=908851716230648&set=gm.2588545511363637&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">13 de maio de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: PENSADORES
das ARTES VISUAIS do RIO GRANDE do SUL<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">O PENSAMENTO
de</span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"> FRANCISCO RIOPARDENSE de MACEDO</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">(1921-2007).– ESTUDOS de ARTE Postagem nº 219 </span><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Verdana; mso-fareast-language: ZH-CN;"><a href="http://profciriosimon.blogspot.com.br/2017/11/219-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/11/219-estudos-de-arte.html</a></span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=909494126166407&set=gm.2589289791289209&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=909494126166407&set=gm.2589289791289209&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">14 de maio de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: PENSADORES das ARTES VISUAIS do RIO GRANDE do
SUL<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">O PENSAMENTO
de </span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #222222; font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;">ATHOS
DAMASCENO FERREIRA</span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"> </span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">(1902-1975)</span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"> In BLOG – ESTUDOS de
ARTE. Postagem nº 210<a href="http://profciriosimon.blogspot.com.br/2017/09/210-estudos-de-arte.html" target="_blank"><span style="color: #1155cc;">http://profciriosimon.blogspot.com.br/2017/09/210-estudos-de-arte.html</span></a><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif";"><a href="https://www.facebook.com/photo.php?fbid=910148299434323&set=gm.2590033404548181&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=910148299434323&set=gm.2590033404548181&type=3&theater&ifg=1</a></span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi9VE3mxj2fwyxxwa9m3Jyoz_SA21NEIgyAgXo-YbKkoMBkc9AUw4MJl1cGGqPhLBiB-MgBbxLtY70tQscMKL6MErytUJOEHdNWcecdyW5H1hCvzPtv-EhAtFOLouwqyxF1nMUtqT0rU6i/s1600/07+-+GRUPO+de+PESQUISA+da+AMARGAS+em+12.12%252C2019.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1224" data-original-width="1600" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi9VE3mxj2fwyxxwa9m3Jyoz_SA21NEIgyAgXo-YbKkoMBkc9AUw4MJl1cGGqPhLBiB-MgBbxLtY70tQscMKL6MErytUJOEHdNWcecdyW5H1hCvzPtv-EhAtFOLouwqyxF1nMUtqT0rU6i/s400/07+-+GRUPO+de+PESQUISA+da+AMARGAS+em+12.12%252C2019.png" width="400" /></a></div>
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<span style="font-family: "arial narrow" , "sans-serif"; font-size: 9.0pt;">GRUPO de PESQUISA da AMARGAS no encerramento doa
ano em em 12.12,2019<o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 07 - </span><b style="color: #c00000; font-family: Arial, sans-serif;">A </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>diretoria</b></span><b style="color: #c00000; font-family: Arial, sans-serif;"> da AAMARGS propicia ao seu GRUPO DE PESQUISAS a ocasião, o prazer, o
gosta,de investigar as ARTES VISUAIS do RIO GRANDE do SUL e receber a </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>ava lição</b></span><b style="color: #c00000; font-family: Arial, sans-serif;"> e o retorno imediato </b><span style="color: #c00000; font-family: "arial" , sans-serif;">Não existe
sobreposição e muito menos concorrência com os setores oficiais e profissionais do MARGS. Existem duas linnas de pesquisa com identidade e autonomia própria</span><b style="color: #c00000; font-family: Arial, sans-serif;">. </b><span style="color: #c00000; font-family: "arial" , sans-serif;">A </span><span style="color: #c00000; font-family: "arial" , sans-serif; text-indent: -9.46667px;">llnha</span><span style="text-indent: -7.1pt;"><span style="color: #c00000; font-family: "arial" , sans-serif;"> do MARGS
é aquela das funções institucionais deste ente publico e por tempo indemonstrado. O GRUPO de PESQUISAS está a convite e depende de projetos e
programas anuais</span></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">15 de maio de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: : PENSADORAS das ARTES VISUAIS do RIO GRANDE do
SUL <o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">O PENSAMENTO de</span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"> ALICE </span><span style="font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial; mso-fareast-language: ZH-CN;">ARDOHAIN</span><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">
SOARES </span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">(1917-2005) PENSANDO o DESENHO0-Blog ESTUDOS de ARTE. Postagem nº 218 </span><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Verdana; mso-fareast-language: ZH-CN;"><a href="http://profciriosimon.blogspot.com.br/2017/11/218-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/11/218-estudos-de-arte.html</a></span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Verdana; mso-fareast-language: ZH-CN;"><a href="https://www.facebook.com/photo.php?fbid=910850409364112&set=gm.2590784411139747&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=910850409364112&set=gm.2590784411139747&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">16 de maio de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: PENSADORES
das ARTES VISUAIS do RIO GRANDE do SUL <o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN; mso-font-kerning: 16.0pt;">O PENSAMENTO de </span></b><b><span style="font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial; mso-font-kerning: 18.0pt;">Aldo MARIANTE </span></b><b><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN; mso-font-kerning: 16.0pt;">OBINO</span></b><b><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN; mso-font-kerning: 16.0pt;"> </span></b><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-weight: bold; mso-fareast-language: ZH-CN; mso-font-kerning: 16.0pt;">(1913-2007)<b>.
<o:p></o:p></b></span></div>
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<b><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN; mso-font-kerning: 16.0pt;">In ESTUDOS de ARTE postagem nº 217 –</span></b><b><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial; mso-font-kerning: 18.0pt;"><o:p></o:p></span></b></div>
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<b><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Verdana; mso-fareast-language: ZH-CN;"><a href="http://profciriosimon.blogspot.com.br/2017/10/217-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/10/217-estudos-de-arte.html</a><o:p></o:p></span></b></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">FACE BOOK<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=911527139296439&set=gm.2591588267726028&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=911527139296439&set=gm.2591588267726028&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">FORMANDOS do IBA_RS 1945 CONVITE e TURMA<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=3759407114134084&set=pcb.2591270521091136&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=3759407114134084&set=pcb.2591270521091136&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">FORMANDOS do IBA_RS 1945 foto colorida<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=3763145530426909&set=gm.2591867854364736&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=3763145530426909&set=gm.2591867854364736&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">17 de maio de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: PENSADORES
das ARTES VISUAIS do RIO GRANDE do SUL <o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">O PENSAMENTO de </span><b><span style="font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">Herbert MORITZ CARO</span></b><b><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">
(*1906 - 1991)</span></b><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">0-216
– ESTUDOS de ARTE<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Verdana; mso-fareast-language: ZH-CN;"><a href="http://profciriosimon.blogspot.com.br/2017/10/216-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/10/216-estudos-de-arte.html</a><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=912254335890386&set=gm.2592436774307844&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=912254335890386&set=gm.2592436774307844&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">18 de maio de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial narrow" , "sans-serif";">PENSADORES das ARTES VISUAIS do
RIO GRANDE do SUL <o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Calibri;">O pensamento do Dr. </span></b><b><span style="font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Calibri;">Fabio de Barros</span></b><b><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Calibri;">(1881 – 1952)</span></b><span style="font-family: "arial narrow" , "sans-serif";">
– ESTUDOS de ARTE. postagem nº<i>214</i></span><b><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Calibri;"> </span></b><b><span style="font-family: "arial narrow" , "sans-serif";"><a href="http://profciriosimon.blogspot.com.br/2017/10/214-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/10/214-estudos-de-arte.html</a></span></b><b><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Calibri;"><o:p></o:p></span></b></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">FACE BOOK<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=913023689146784&set=gm.2593272940890894&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=913023689146784&set=gm.2593272940890894&type=3&theater&ifg=1</a></span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">19 de maio de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">PENSANDO as ARTES VISUAIS do RIO GRANDE do SUL SINCRONIZADO com </span><span style="font-family: "arial black" , "sans-serif"; font-size: 11.0pt;">ÂNGELO GUIDO</span><span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;"> GNOCCHI (1893-1969)– ESTUDOS de ARTE postagem nº. 213<o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;"><a href="http://profciriosimon.blogspot.com.br/2017/09/213-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/09/213-estudos-de-arte.html</a><o:p></o:p></span></b></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">FACE BOOK<br />
<a href="https://www.facebook.com/photo.php?fbid=913746539074499&set=gm.2594073160810872&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=913746539074499&set=gm.2594073160810872&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">20 de maio de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">: PENSADORES das ARTES VISUAIS do RIO GRANDE do SUL<o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt; line-height: 150%;">OS ESCRITOS DE FERNANDO
CORONA </span></b><b><span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt; line-height: 150%;">(1896-1979)</span></b><span style="color: #c00000; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt; line-height: 150%;"> </span><b><span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt; line-height: 150%;">E O SABER FILOSÓFICO<o:p></o:p></span></b></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">Artigo
elaborado em setembro de 2017 e apresentado no dia 14 de setembro de 2017 por<o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">Por </span></b><b><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">Neusa Rolita Cavedon<o:p></o:p></span></b></div>
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<span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">Publicado em ESTUDOS de ARTE postagem nº. 212 –<o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt; line-height: 150%;"><a href="http://profciriosimon.blogspot.com.br/2017/09/212-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/09/212-estudos-de-arte.html</a><o:p></o:p></span></b></div>
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<b><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">FACE
BOOK<o:p></o:p></span></b></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;"><a href="https://www.facebook.com/photo.php?fbid=914463225669497&set=gm.2594843254067196&type=3&theater&ifg=1"><span style="text-decoration-line: none;">https://www.facebook.com/photo.php?fbid=914463225669497&set=gm.2594843254067196&type=3&theater&ifg=1</span></a><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">21 de maio de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">O PENSAMENTO de </span><span style="font-family: "arial black" , "sans-serif"; font-size: 11.0pt;">TASSO BOLIVAR DIAS CORRÊA</span><span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;"> nas ARTES do RIO GRANDE do SUL. ESTUDOS de ARTE, postagem nº-171 –<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;"><a href="http://profciriosimon.blogspot.com/2016/04/171-o-pensamento-de-tasso-correa.html">http://profciriosimon.blogspot.com/2016/04/171-o-pensamento-de-tasso-correa.html</a><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">FACE
BOOK<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;"><a href="https://www.facebook.com/photo/?fbid=915179335597886&set=gm.2595568883994633">https://www.facebook.com/photo/?fbid=915179335597886&set=gm.2595568883994633</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">22 de maio de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">O PENSAMENTO de <o:p></o:p></span></div>
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<span style="font-family: "arial black" , "sans-serif"; font-size: 11.0pt;">OLYMPIO OLINTO de OLIVEIRA</span><span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">
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<b><span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;"><a href="http://profciriosimon.blogspot.com.br/2017/06/0-207-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/06/0-207-estudos-de-arte.html</a><o:p></o:p></span></b></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">FACE BOOK<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;"><a href="https://www.facebook.com/photo/?fbid=915870672195419&set=gm.2596334817251373">https://www.facebook.com/photo/?fbid=915870672195419&set=gm.2596334817251373</a></span><b><span style="color: #222222; font-family: "arial black" , "sans-serif"; mso-bidi-font-family: Arial;"> </span></b><span style="color: #222222; font-family: "arial" , "sans-serif";"><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">23 de maio de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">DOIS MESES de SESSÕES VIRTUAIS <o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">do GRUPO de
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<i><span style="color: #385623; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">LEIA MAIS EM :<o:p></o:p></span></i></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">LEIA em ESTUDOS de ARTE –postagem nº 194 –<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">FACE BOOK</span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;"><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">25 de maio de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">: </span><span style="font-family: "arial black" , "sans-serif"; font-size: 16.0pt;"> </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">DIACRONIA
e SINCRONIA <o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">dos PENSADORES das ARTES VISUAIS SUL-RIO-GRANDENSES.</span><span style="font-family: "arial black" , "sans-serif"; font-size: 16.0pt;"><o:p></o:p></span></div>
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<i><span style="color: #385623; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">LEIA MAIS EM :<o:p></o:p></span></i></div>
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<span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;"><a href="https://profciriosimon.blogspot.com/2020/05/285-dois-meses-de-sessoes-virtuais.html">https://profciriosimon.blogspot.com/2020/05/285-dois-meses-de-sessoes-virtuais.html</a></span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">Em ESTUDOS de ARTE –postagem nº 194<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt; line-height: 150%;">FACE BOOK<o:p></o:p></span></div>
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<i><span style="color: #385623; font-family: "arial narrow" , "sans-serif"; line-height: 150%;">LEIA
MAIS EM :<o:p></o:p></span></i></div>
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<i><span style="color: #385623; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-size: 11.0pt;"><a href="http://profciriosimon.blogspot.com/2010/06/arte-em-porto-alegre-05.html">http://profciriosimon.blogspot.com/2010/06/arte-em-porto-alegre-05.html</a><o:p></o:p></span></i></div>
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<i><span style="color: #385623; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-size: 11.0pt;">Falando sobre o poste<o:p></o:p></span></i></div>
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<i><span style="color: #385623; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-size: 11.0pt;"><a href="http://profciriosimon.blogspot.com/2017/07/208-estudos-de-arte.html">http://profciriosimon.blogspot.com/2017/07/208-estudos-de-arte.html</a><o:p></o:p></span></i></div>
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<span style="font-family: "arial narrow" , "sans-serif"; line-height: 150%;"><a href="http://profciriosimon.blogspot.com/2013/10/ahistoria-nao-existe.html">http://profciriosimon.blogspot.com/2013/10/ahistoria-nao-existe.html</a><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial; mso-bidi-font-size: 11.0pt;">FACE BOOK<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial; mso-bidi-font-size: 11.0pt;"><a href="https://www.facebook.com/photo/?fbid=918571348592018&set=gm.2599385926946262">https://www.facebook.com/photo/?fbid=918571348592018&set=gm.2599385926946262</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">27 de maio de 2020</span><span style="color: #222222; font-family: "arial black" , "sans-serif"; font-size: 18.0pt;"> </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">PERDAS
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">FACE BOOK<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;"><a href="https://www.facebook.com/photo/?fbid=919249105190909&set=gm.2600139486870906">https://www.facebook.com/photo/?fbid=919249105190909&set=gm.2600139486870906</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">28 de maio de 2020</span><span style="color: #222222; font-family: "arial black" , "sans-serif"; font-size: 18.0pt;"> </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">PERDAS nas ARTES VISUAIS do RIO GRANDE do SUL,<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">- A IMAGEM FIDEDIGNA de BENTO
GONÇALVES.<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">FACE BOOK<br />
<a href="https://www.facebook.com/photo?fbid=919823938466759&set=gm.2600793093472212">https://www.facebook.com/photo?fbid=919823938466759&set=gm.2600793093472212</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">29 de maio de 2020</span><span style="color: #222222; font-family: "arial black" , "sans-serif"; font-size: 18.0pt;"> </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">PERDAS
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">- MATRIZ e o IMPÉRIO do DIVINO.<o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">30 de maio de 2020</span><span style="color: #222222; font-family: "arial black" , "sans-serif"; font-size: 18.0pt;"> </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">PERDAS nas ARTES VISUAIS de PORTO ALEGRE<o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">31 de maio de 2020</span><span style="color: #222222; font-family: "arial black" , "sans-serif"; font-size: 18.0pt;"> </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">PERDAS
nas ARTES VISUAIS de PORTO ALEGRE</span><span style="color: #222222; font-family: "arial black" , "sans-serif"; font-size: 18.0pt;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">INCÊNDIO em TRÊS PRÉDIOS PÚBLICOS.<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">FACE
BOOK<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo/?fbid=921928764922943&set=gm.2603221843229337">https://www.facebook.com/photo/?fbid=921928764922943&set=gm.2603221843229337</a><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">AVISO de UTILIDADE PÚBLICA.<o:p></o:p></span></div>
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<span lang="FR" style="font-family: "arial narrow" , "sans-serif"; mso-ansi-language: FR; mso-bidi-font-family: Arial;">FACE BIIK<o:p></o:p></span></div>
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</div>
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<span lang="FR" style="font-family: "arial narrow" , "sans-serif"; mso-ansi-language: FR; mso-bidi-font-family: Arial;">https://www.facebook.com/photo/?fbid=922175828231570&set=gm.2603491559869032<o:p></o:p></span></div>
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</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpg2QZ8kcWhK2UCB9bDHxH0sp8aV_VDMSRLhtdldVtq6eEr8YjvxwHxP003Zt0_pqiXQk_i3VKwnlopl6f4vzFbdo0efF-cpAqBuJKTrGqU-Sw5-n_szVQY_F5KXCvpH13JJdnLLtM0waK/s1600/08+TENISA.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpg2QZ8kcWhK2UCB9bDHxH0sp8aV_VDMSRLhtdldVtq6eEr8YjvxwHxP003Zt0_pqiXQk_i3VKwnlopl6f4vzFbdo0efF-cpAqBuJKTrGqU-Sw5-n_szVQY_F5KXCvpH13JJdnLLtM0waK/s400/08+TENISA.JPG" width="400" /></a></div>
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<span style="font-family: "arial narrow" , "sans-serif"; font-size: 9.0pt;">TENISA ESPINELI no GRUPO de PESQUISA das AAMARFS em
04.07.2019</span><span style="color: #c00000; font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">.<o:p></o:p></span></div>
<br />
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 08 - </span><b style="color: #c00000; font-family: Arial, sans-serif;">A jornalista Tenisa SPINELLI e uma </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>ativa</b></span><b style="color: #c00000; font-family: Arial, sans-serif;"> presença nas sessões presenciais
e </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>virtuais</b></span><b style="color: #c00000; font-family: Arial, sans-serif;"> do GRUPO DE PESQUISAS da
AAMARGS </b><span style="color: #c00000; font-family: "arial" , sans-serif;">Conhecedora das ARTES VISUAIS do RIO GRANDE do SUL possui um
alentado porto-folio de entrevistas com artistas e livro publicado sobre os
MUSEUS di Rio Grande do Sul </span><b><span style="color: #0070c0; font-family: "arial" , "sans-serif";"><o:p></o:p></span></b></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">01 de junho de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">:</span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"> PERDAS nas ARTES VISUAIS de PORTO ALEGRE<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">- MENINO DEUS.<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">FACE<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="background: white; text-align: center;">
<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"> <a href="https://www.facebook.com/photo?fbid=922663914849428&set=gm.2603962616488593">https://www.facebook.com/photo?fbid=922663914849428&set=gm.2603962616488593</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">02 de junho de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">:</span><span style="color: #222222; font-family: "arial black" , "sans-serif"; font-size: 18.0pt;"> </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">PERDAS nas ARTES VISUAIS de PORTO ALEGRE<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">- TEMPLO LUTERANO.<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt; line-height: 150%;">FACE BOOK<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt; line-height: 150%;"><a href="https://www.facebook.com/photo/?fbid=923434254772394&set=gm.2604793829738805">https://www.facebook.com/photo/?fbid=923434254772394&set=gm.2604793829738805</a></span><span style="font-family: "arial narrow" , "sans-serif"; font-size: 14.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">03 de junho de 2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">:</span><span style="font-family: "arial black" , "sans-serif"; font-size: 16.0pt;"> </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">PERDAS de TRÊS PRÉDIOS EMBLEMÁTICOS das ARTES VISUAIS de
PORTO ALEGRE</span><span style="font-family: "arial black" , "sans-serif"; font-size: 16.0pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 11pt; line-height: 150%;">Prédios do CINEMA TALIA, MALAKOF
e 4ª DELEGACIA <o:p></o:p></span></b></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">FACE BOOK<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;"><a href="https://www.facebook.com/photo/?fbid=924187008030452&set=gm.2605695996315255">https://www.facebook.com/photo/?fbid=924187008030452&set=gm.2605695996315255</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">04 de junho de 2020</span><span style="color: #c00000; font-family: "arial black" , "sans-serif"; font-size: 11.0pt;">:</span><span style="font-family: "arial black" , "sans-serif"; font-size: 16.0pt;"> </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">PERDAS nas ARTES VISUAIS de PORTO ALEGRE</span><span style="font-family: "arial black" , "sans-serif"; font-size: 16.0pt;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;"> Uma OBRA CINÉTICA.<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">FACE BOOK<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;"><a href="https://www.facebook.com/photo/?fbid=924848994630920&set=gm.2606494842902037">https://www.facebook.com/photo/?fbid=924848994630920&set=gm.2606494842902037</a><o:p></o:p></span></div>
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<br /></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">05 de junho de 2020</span><span style="color: #222222; font-family: "arial black" , "sans-serif"; font-size: 18.0pt;"> </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">ARTISTAS VISUAIS e o “PALÁCIO PRESIDENCIAL” do RIO GRANDE do
SUL As OBRAS de ANTÔNIO PARREIRAS.<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">FACE
BOOK<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo/?fbid=925609614554858&set=gm.2607409872810534">https://www.facebook.com/photo/?fbid=925609614554858&set=gm.2607409872810534</a><span style="color: #222222;"><o:p></o:p></span></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">06 de junho de 2020</span><span style="color: #222222; font-family: "arial black" , "sans-serif"; font-size: 18.0pt;"> </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">ARTISTAS VISUAIS e o “PALÁCIO PRESIDENCIAL”
do RIO GRANDE do SUL A OBRA de LUCÍLIO
de ALBUQUERQUE.<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 11pt;">FACE BOOK<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "arial narrow" , sans-serif; font-size: 11pt;"><a href="https://www.facebook.com/photo/?fbid=926379084477911&set=gm.2608313436053511">https://www.facebook.com/photo/?fbid=926379084477911&set=gm.2608313436053511</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">07 de junho de 2020</span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"> ARTISTAS VISUAIS e o PALACIO
PRESIDENCIAL do RIO GRANDE do SUL </span><span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">As OBRAS de LUIS AUGUSTO de FREITAS.</span><span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="background: white; margin-left: 1.0cm; text-align: center; text-indent: -1.0cm;">
<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">FACE BOOK<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="background: white; margin-left: 1.0cm; text-align: center; text-indent: -1.0cm;">
<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo/?fbid=927075711074915&set=gm.2609162349301953">https://www.facebook.com/photo/?fbid=927075711074915&set=gm.2609162349301953</a><o:p></o:p></span></div>
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<br /></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">Público da GALERIA TINA ZAPOLLI na ocasião do Lançamento do
livro de MARIANITA LINCK<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo/?fbid=1545319278864440&set=a.1543838252345876">https://www.facebook.com/photo/?fbid=1545319278864440&set=a.1543838252345876</a><o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="background: white; text-align: center;">
<br /></div>
<div align="center" class="MsoNormal" style="background: white; margin-left: 1.0cm; text-align: center; text-indent: -1.0cm;">
<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo/?fbid=1545319278864440&set=a.1543838252345876">https://www.facebook.com/photo/?fbid=1545319278864440&set=a.1543838252345876</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">08 de junho de 2020 </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">ARTISTAS VISUAIS e o PALACIO PRESIDENCIAL do RIO GRANDE do SUL </span><span style="font-family: "arial narrow" , "sans-serif";"> </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">A OBRA de HELIOS SEELINGER.</span><span style="font-family: "arial narrow" , "sans-serif";"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold;">FACE BOOK<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold;"><a href="https://www.facebook.com/photo?fbid=927771474338672&set=gm.2609944822557039">https://www.facebook.com/photo?fbid=927771474338672&set=gm.2609944822557039</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">09 de junho de 2020 </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">ARTISTAS VISUAIS com OBRAS
DEFINITIVAS no PALÁCIO PIRATINI. As OBRAS de PAUL LANDOWSKY.</span><span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold;">FACE BOOK<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="background: white; text-align: center;">
<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold;"><a href="https://www.facebook.com/photo?fbid=927075711074915&set=gm.2609162349301953">https://www.facebook.com/photo?fbid=927075711074915&set=gm.2609162349301953</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">10 de junho de 2020 </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">ARTISTAS VISUAIS com OBRAS
DEFINITIVAS no PALÁCIO PIRATINI As
OBRAS de ALDO LOCATELLI.<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt;">FACE BOOK<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="background: white; line-height: 14.65pt; text-align: center;">
<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo/?fbid=929309254184894&set=gm.2611622249055963">https://www.facebook.com/photo/?fbid=929309254184894&set=gm.2611622249055963</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">11 de junho de 2020 </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">Uma SEMANA ESTUDANDO os ARTISTAS VISUAIS que PROPUSERAM ou
REALIZAM OBRAS para o PALÁCIO PIRATINI <o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">FACE
BOOK<o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><a href="https://www.facebook.com/photo?fbid=929986130783873&set=gm.2612402005644654">https://www.facebook.com/photo?fbid=929986130783873&set=gm.2612402005644654</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">12 de junho de 2020</span><span style="color: #222222; font-family: "arial black" , "sans-serif"; font-size: 18.0pt;"> </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">Os ARTISTAS VISUAIS do RIO GRANDE do
SUL, do BRASIL e os ESTRANGEIROS. O CASO
do CRISTO do CORCOVADO.<o:p></o:p></span></div>
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<span style="color: #41424e; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">FACE BOOK<o:p></o:p></span></div>
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<span style="color: #41424e; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo/?fbid=930695620712924&set=gm.2613223588895829">https://www.facebook.com/photo/?fbid=930695620712924&set=gm.2613223588895829</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">13 de junho de 2020</span><span style="color: #222222; font-family: "arial black" , "sans-serif"; font-size: 18.0pt;"> </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">Os ARTISTAS VISUAIS do RIO GRANDE do SUL e o CULTIVO da sua
MEMÓRIA por FAMILIARES.<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">ARTES VISUAIS e PATRIMÔNIO FAMILIAR.<o:p></o:p></span></div>
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<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "arial narrow" , sans-serif;">FACE
BOOK<o:p></o:p></span></div>
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<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: "arial narrow" , sans-serif;"><a href="https://www.facebook.com/photo/?fbid=931450473970772&set=gm.2614087518809436">https://www.facebook.com/photo/?fbid=931450473970772&set=gm.2614087518809436</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">14 de junho de 2020 </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">Os ARTISTAS VISUAIS do RIO GRANDE do SUL e o CULTIVO da sua
MEMÓRIA por FAMILIARES.</span><span style="color: #c00000; font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">
</span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">PEDRO WEINGÄRTNER seus PAIS e IRMÃOS.</span><span style="color: #c00000; font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">FACE BOOK<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo?fbid=932158790566607&set=gm.2614896088728579">https://www.facebook.com/photo?fbid=932158790566607&set=gm.2614896088728579</a><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxPcH0rZeWjmtvVN8_6qnc5JkffsQm9GtCvVJYLr0-xqyDSn89CKrw7J-6Td6_RzsnFJYwWH730yPGxI4GmJwjxw6NThDHxS8uO8vZS_b1saiPiwy5N-PK8z7i9cmw-I8yv6PzN0VdoZrp/s1600/09+AAMARGS+reuni%25C3%25A3o+23%252C03.2017+a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="879" data-original-width="1600" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxPcH0rZeWjmtvVN8_6qnc5JkffsQm9GtCvVJYLr0-xqyDSn89CKrw7J-6Td6_RzsnFJYwWH730yPGxI4GmJwjxw6NThDHxS8uO8vZS_b1saiPiwy5N-PK8z7i9cmw-I8yv6PzN0VdoZrp/s400/09+AAMARGS+reuni%25C3%25A3o+23%252C03.2017+a.jpg" width="400" /></a></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">SESSÃO da AAMARGS no dia 23 de março
de 2017<o:p></o:p></span></div>
<br />
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 09 - </span><b style="color: #c00000; font-family: Arial, sans-serif;">As densas e </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>participativas</b></span><b style="color: #c00000; font-family: Arial, sans-serif;"> sessões
presenciais GRUPO DE PESQUISAS da
AAMARGS </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>reuniam</b></span><b style="color: #c00000; font-family: Arial, sans-serif;">-se de ano para ano sem perderem o alto </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>nível</b></span><b style="color: #c00000; font-family: Arial, sans-serif;"> devido a
presença de pessoas que se dedicam de
corpo e alma a este projeto que </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>assumiram</b></span><b style="color: #c00000; font-family: Arial, sans-serif;"> de uma forma autônoma sem </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>agudarem</b></span><b style="color: #c00000; font-family: Arial, sans-serif;"> retornos ou consagrações pessoais. </b><span style="color: #c00000; font-family: "arial" , sans-serif;">Cada
sessão possui uma pauta comunicada ao grupo cinco dias úteis antes e pe escrita
uma ata cujos textos encontraram-se no Núcleo de Documentação pesquisa do
MARGS</span><b style="color: #c00000; font-family: Arial, sans-serif;"> </b><b><span style="color: #0070c0; font-family: "arial" , "sans-serif";"><o:p></o:p></span></b></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">15 de junho de 2020 </span><span style="font-family: "arial narrow" , "sans-serif";">Os ARTISTAS VISUAIS do RIO
GRANDE do SUL<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "arial narrow" , "sans-serif";">e o CULTIVO da sua MEMÓRIA por
FAMILIARES. JOSEPH SERAPH LUTZENBERGER
e os filhos ROSE, MARIA MADALENA e JOSE LUTZENBERGER.<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif";">FACE BOOK<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif";"><a href="https://www.facebook.com/photo?fbid=932863533829466&set=gm.2615641915320663">https://www.facebook.com/photo?fbid=932863533829466&set=gm.2615641915320663</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">16 de junho de 2020 </span><span style="font-family: "arial narrow" , "sans-serif";">Os ARTISTAS VISUAIS do RIO
GRANDE do SUL e o CULTIVO da sua MEMÓRIA por FAMILIARES.</span><span style="color: #c00000; font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="font-family: "arial narrow" , "sans-serif";">JOÂO
FAHRION e FAMÍLIA.</span><span style="color: #c00000; font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif";">FACE BOOK<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif";"><a href="https://www.facebook.com/photo?fbid=933552947093858&set=gm.2616431145241740">https://www.facebook.com/photo?fbid=933552947093858&set=gm.2616431145241740</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">17 de junho de 2020 </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">Os ARTISTAS VISUAIS do RIO GRANDE do
SUL e o CULTIVO da sua MEMÓRIA por FAMILIARES.</span><span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"> </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">IBERÊ e MARIA CAMARGO.</span><span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">FACE BOOK<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo/?fbid=934235010358985&set=gm.2617211201830401">https://www.facebook.com/photo/?fbid=934235010358985&set=gm.2617211201830401</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">18 de junho de 2020 </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">Os ARTISTAS VISUAIS do RIO GRANDE do
SUL e o CULTIVO da sua MEMÓRIA por FAMILIARES.
CLÁUDIO MARTINS COSTA e FAMÍLIA.<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">FACE BOOK<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo?fbid=935007566948396&set=gm.2618052781746243">https://www.facebook.com/photo?fbid=935007566948396&set=gm.2618052781746243</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">19 de junho de 2020 </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">Os ARTISTAS VISUAIS do RIO GRANDE do SUL e o CULTIVO da sua
MEMÓRIA por FAMILIARES. CLÉBIO GUILLON SÓRIA e o CÍRCULO FAMILIAR.<o:p></o:p></span></div>
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<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-family: "arial narrow" , sans-serif;">FACE
BOOK<o:p></o:p></span></div>
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<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-family: "arial narrow" , sans-serif;"><a href="https://www.facebook.com/photo?fbid=935676026881550&set=gm.2618892321662289">https://www.facebook.com/photo?fbid=935676026881550&set=gm.2618892321662289</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">20 de junho de 2020 </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">SEIS ARTISTAS VISUAIS do RIO GRANDE do SUL e o CULTIVO da sua
MEMÓRIA por FAMILIARES.<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif";">FACE
BOOK<o:p></o:p></span></div>
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<span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #222222; font-family: "arial narrow" , sans-serif;"><a href="https://www.facebook.com/photo/?fbid=936434196805733&set=gm.2619739631577558">https://www.facebook.com/photo/?fbid=936434196805733&set=gm.2619739631577558</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">21 de junho de 2020 </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">OBRAS de ARTES VISUAIS produzidas no RIO GRANDE do SUL.<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">FACE BOOK<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo/?fbid=937150070067479&set=gm.2620538531497668">https://www.facebook.com/photo/?fbid=937150070067479&set=gm.2620538531497668</a></span><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-style: italic;"><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">22 de junho de 2020 </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">OBRAS de ARTES VISUAIS produzidas no RIO GRANDE do SUL<o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , "sans-serif";">OBRAS
das ARTES VISUAIS INDÍGENAS</span></b><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"> do atual território do </span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;">SUL-RIO-GRANDENSE.</span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , "sans-serif";"><a href="http://profciriosimon.blogspot.com.br/2016/08/177-iconografia-indigena-sul-rio.html">http://profciriosimon.blogspot.com.br/2016/08/177-iconografia-indigena-sul-rio.html</a>
<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial narrow" , "sans-serif";"> FACE BOOK<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial narrow" , "sans-serif"; mso-font-kerning: 16.0pt;"><a href="https://www.facebook.com/photo?fbid=937813726667780&set=gm.2621302134754641">https://www.facebook.com/photo?fbid=937813726667780&set=gm.2621302134754641</a><o:p></o:p></span></b></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">23 de junho de 2020 </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">OBRAS de ARTES VISUAIS produzidas no RIO GRANDE do SUL<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">AS MISSÔES</span><b><span style="font-family: "arial narrow" , "sans-serif";"> e as obra de arte como
Propaganda da Fé concebida pelo Concílio de Trento e como identidade da
Contrarreforma</span></b><span style="font-family: "arial narrow" , "sans-serif";">.</span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="http://profciriosimon.blogspot.com/2015/06/arte-no-rio-grande-do-sul-04.html">http://profciriosimon.blogspot.com/2015/06/arte-no-rio-grande-do-sul-04.html</a><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">FACE
BOOK<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo?fbid=938524173263402&set=gm.2622121178006070">https://www.facebook.com/photo?fbid=938524173263402&set=gm.2622121178006070</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">24 de junho de 2020 </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.0pt;">OBRAS de ARTES VISUAIS produzidas no
RIO GRANDE do SUL<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.0pt;"> ARTES VISUAIS AFRO</span><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-size: 14.0pt; mso-fareast-language: ZH-CN;">SUL-RIO-GRANDENSE</span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.0pt;">.<o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-size: 14.0pt;"><a href="http://profciriosimon.blogspot.com.br/2016/08/179-iconografia-afro-sul-rio-grandense.html">http://profciriosimon.blogspot.com.br/2016/08/179-iconografia-afro-sul-rio-grandense.html</a>
<o:p></o:p></span></b></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-size: 14.0pt; mso-fareast-language: ZH-CN;">.</span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.0pt;">
FACE BOOK<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.0pt;"><a href="https://www.facebook.com/photo?fbid=939231723192647&set=gm.2622899334594921">https://www.facebook.com/photo?fbid=939231723192647&set=gm.2622899334594921</a></span><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-size: 14.0pt; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">25 de junho de 2020 </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">OBRAS de ARTES VISUAIS do ILUMINISMO produzidas
no RIO GRANDE do SUL<o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , "sans-serif";"><a href="http://profciriosimon.blogspot.com.br/2016/09/180-iconografia-sul-rio-grandense.html">http://profciriosimon.blogspot.com.br/2016/09/180-iconografia-sul-rio-grandense.html</a>
<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial narrow" , "sans-serif";">O
PROJETO OLUMINISTA contrapõe-se ao BARROCO<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial narrow" , "sans-serif";"><a href="http://profciriosimon.blogspot.com/2015/07/arte-no-rio-grande-do-sul-06.html">http://profciriosimon.blogspot.com/2015/07/arte-no-rio-grande-do-sul-06.html</a><o:p></o:p></span></b></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">FACE
BOOK<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo?fbid=940023899780096&set=gm.2623750164509838">https://www.facebook.com/photo?fbid=940023899780096&set=gm.2623750164509838</a><o:p></o:p></span></div>
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<br /></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">26 de junho de 2020 </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">OBRAS de ARTES VISUAIS do RIO GRANDE do SUL<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">OBRA de ARAÚJO PORTO-ALEGRE.<o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , "sans-serif";"><a href="http://profciriosimon.blogspot.com.br/2016/09/181-iconografia-sul-rio-grandense.html">http://profciriosimon.blogspot.com.br/2016/09/181-iconografia-sul-rio-grandense.html</a>
<o:p></o:p></span></b></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">FACE
BOOK<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo?fbid=940752809707205&set=gm.2624579814426873">https://www.facebook.com/photo?fbid=940752809707205&set=gm.2624579814426873</a></span><b><span style="font-family: "arial narrow" , "sans-serif";"><o:p></o:p></span></b></div>
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<b><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Andalus;">O projeto imperial na província sul-rio-grandense<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Andalus;"><a href="http://profciriosimon.blogspot.com.br/2015/07/arte-no-rio-grande-do-sul-07.html">http://profciriosimon.blogspot.com.br/2015/07/arte-no-rio-grande-do-sul-07.html</a></span></b><span style="font-family: "arial narrow" , "sans-serif";"><o:p></o:p></span></div>
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<br /></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">27 de junho de 2020 </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">VERTENTES das OBRAS PRIMORDIAIS das ARTES VISUAIS no RIO GRANDE
do SUL<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">FACE BOOK<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo?fbid=941444669638019&set=gm.2625437831007738">https://www.facebook.com/photo?fbid=941444669638019&set=gm.2625437831007738</a><span style="color: #222222;">.<o:p></o:p></span></span></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">28 de junho de 2020 </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">OBRAS de ARTES VISUAIS no RIO GRANDE do SUL<o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , "sans-serif";">Uma obra de Pedro
Weingärtner colocada entre os paradigmas imperiais e os republicanos
brasileiros.<o:p></o:p></span></b></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><a href="http://profciriosimon.blogspot.com.br/2016/09/182-iconografia-sul-rio-grandense.html">http://profciriosimon.blogspot.com.br/2016/09/182-iconografia-sul-rio-grandense.html</a></span><b><span style="font-family: "arial narrow" , "sans-serif";"><o:p></o:p></span></b></div>
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<span style="font-family: "arial narrow" , "sans-serif";">Continuação e complemento de:<o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Andalus;">O projeto imperial é substituído pelo projeto republicano
sul-rio-grandense<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Andalus; mso-fareast-language: ZH-CN;"><a href="http://profciriosimon.blogspot.com.br/2015/07/arte-no-rio-grande-do-sul-08.html">http://profciriosimon.blogspot.com.br/2015/07/arte-no-rio-grande-do-sul-08.html</a><o:p></o:p></span></b></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">FACE
BOOK<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo/?fbid=942126572903162&set=gm.2626362730915248">https://www.facebook.com/photo/?fbid=942126572903162&set=gm.2626362730915248</a><o:p></o:p></span></div>
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<br /></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">29 de junho de 2020 </span><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">OBRAS de ARTES VISUAIS no RIO GRANDE
do SUL<o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , "sans-serif";">Uma OBRA de
LIBINDO FERRÁS como índice do SISTEMA de ARTES da DÈCADA de 1920<o:p></o:p></span></b></div>
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<span style="font-family: "arial narrow" , "sans-serif";"><a href="http://profciriosimon.blogspot.com.br/2016/09/183-iconografia-sul-rio-grandense.html">http://profciriosimon.blogspot.com.br/2016/09/183-iconografia-sul-rio-grandense.html</a><b><o:p></o:p></b></span></div>
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<span style="font-family: "arial narrow" , "sans-serif";">Continuação e complemento de:<o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Andalus;">O projeto imperial é substituído pelo projeto republicano
sul-rio-grandense<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Andalus;">Dos primórdios do ILBA-RS e a
sua Escola de Artes<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Andalus; mso-fareast-language: ZH-CN;"><a href="http://profciriosimon.blogspot.com.br/2015/07/arte-no-rio-grande-do-sul-09.html">http://profciriosimon.blogspot.com.br/2015/07/arte-no-rio-grande-do-sul-09.html</a><o:p></o:p></span></b></div>
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<br /></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">FACE BOOK<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo/?fbid=942886762827143&set=gm.2627243857493802">https://www.facebook.com/photo/?fbid=942886762827143&set=gm.2627243857493802</a></span><b><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Andalus; mso-fareast-language: ZH-CN;"><o:p></o:p></span></b></div>
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<span style="color: #c00000; font-family: "arial black" , "sans-serif"; mso-fareast-language: ZH-CN;">30 de junho de 2020 </span><span style="font-family: "arial narrow" , "sans-serif";">30.06.2020</span><span style="font-family: "arial narrow" , "sans-serif"; mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">OBRAS de ARTES VISUAIS no RIO GRANDE do SUL</span><b><span style="font-family: "arial narrow" , "sans-serif";">
<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial narrow" , "sans-serif";">Uma
obra de Francis Pelichek como índice das artes visuais praticados por um
profissional estrangeiro competente com olhar maravilhado para a
cultura do Rio Grande do Sul.</span></b><span style="color: #222222; font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , "sans-serif";"><a href="http://profciriosimon.blogspot.com.br/2016/10/184-iconografia-sul-rio-grandense.html">http://profciriosimon.blogspot.com.br/2016/10/184-iconografia-sul-rio-grandense.html</a> <o:p></o:p></span></b></div>
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<b><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">Continuação e complemento de</span></b><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"> <b>Artes
Visuais sul-rio-grandenses <a href="http://profciriosimon.blogspot.com.br/2015/07/arte-no-rio-grande-do-sul-10.html">http://profciriosimon.blogspot.com.br/2015/07/arte-no-rio-grande-do-sul-10.html</a><o:p></o:p></b></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;">FACE
BOOK<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo/?fbid=943654322750387&set=gm.2628038490747672">https://www.facebook.com/photo/?fbid=943654322750387&set=gm.2628038490747672</a><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3NpV16R96kpQBtRTrEJ6Wdl0dMzsn30OfiPjQSBNJFHEsegYNR_jAthEKNS7ZjN544MIuMry-WHnx1pK4lG1CZ6f97IS_9rubDigkMFSVHxHGkqfcFjJVCPB-HXSRtmMjOufCwIWvofY1/s1600/10+-+2020.03.12+1%25C2%25AA+sess%25C3%25A3o+do+GRUPO+de+PESQUISAS+da+AAMARGS.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="677" data-original-width="1600" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3NpV16R96kpQBtRTrEJ6Wdl0dMzsn30OfiPjQSBNJFHEsegYNR_jAthEKNS7ZjN544MIuMry-WHnx1pK4lG1CZ6f97IS_9rubDigkMFSVHxHGkqfcFjJVCPB-HXSRtmMjOufCwIWvofY1/s400/10+-+2020.03.12+1%25C2%25AA+sess%25C3%25A3o+do+GRUPO+de+PESQUISAS+da+AAMARGS.jpg" width="400" /></a></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 10 - </span><b style="color: #c00000; font-family: Arial, sans-serif;">Espera que se repita, o mais breve </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>possessível</b></span><b style="color: #c00000; font-family: Arial, sans-serif;">, a </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>imagem</b></span><b style="color: #c00000; font-family: Arial, sans-serif;"> da primeira sessão presencial GRUPO DE PESQUISAS da AAMARGS
do ano de 2020 e que não se torna a última
</b><span style="color: #c00000; font-family: "arial" , sans-serif;">Em contrapartida,as sessões virtuais diárias. estão apontando outros
caminhos e meios para cultivar a consciência coletiva sul-rio-grandense integrada na consciência coletiva brasileira</span><b style="color: #c00000; font-family: Arial, sans-serif;"> </b><b><span style="color: #0070c0; font-family: "arial" , "sans-serif";"><o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , "sans-serif"; font-size: 14.0pt; line-height: 150%;">Neste período ente 13 de março e 30 de junho de 2030 houve u,a mudança
mundial radical e um questionamento dos rumos da tecnologia sem alma e destinada
Á obsolescência e a descarte. A ARTE aponta para o sentido contrário: ela é
aquilo que permanece. A cultura constitui aquilo de melhor que a humanidade
produz. As OBRAS de ARTE materializam e identificam a transcendência que a
criatura humana está construindo para mostrar e se orgulhar do melhor que ela é
capaz no seu TEMPO, seu LUGAR e sua
SOCIEDADE.</span><span style="font-family: "verdana" , "sans-serif"; font-size: 14.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl26ELzrSROY-wrLx8lnSv6vg8NPOS69uDqTMoemISgP35IkHxtK-Gx06xk7FqvhtyIPruWI-YN4CE0lqNp1Gs4bH52Xy5Hlid04p4zkYM5KBgiToNSw85Y1NyKVh2PTB5ftV0wLwCIHLD/s1600/11+-+CORREIO+do+POVO+-+Porto+Alegre+Ano+125.+N%25C2%25BA+25++capa+++25.10..2019++-+ABRA%25C3%2587ANDO+o+MARGS.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="935" data-original-width="1343" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjl26ELzrSROY-wrLx8lnSv6vg8NPOS69uDqTMoemISgP35IkHxtK-Gx06xk7FqvhtyIPruWI-YN4CE0lqNp1Gs4bH52Xy5Hlid04p4zkYM5KBgiToNSw85Y1NyKVh2PTB5ftV0wLwCIHLD/s400/11+-+CORREIO+do+POVO+-+Porto+Alegre+Ano+125.+N%25C2%25BA+25++capa+++25.10..2019++-+ABRA%25C3%2587ANDO+o+MARGS.png" width="400" /></a></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;"><span style="font-size: 12pt;">Fig. 11 - </span></span><b style="color: #c00000; font-family: Arial, sans-serif; font-size: 12pt;">A
humanidade está está na </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>encruzilhada</b></span><b style="color: #c00000; font-family: Arial, sans-serif; font-size: 12pt;"> de usar os meios aversivos das guerras, dos
campos de </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>concentração</b></span><b style="color: #c00000; font-family: Arial, sans-serif; font-size: 12pt;"> e presídios ou ter mais paz e instituições culturais de
alto nível </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><span style="font-size: 12pt;">A </span>ÉPOCA<span style="font-size: 12pt;"> PÓS-INDUSTRIAL
está apontando para os BENS SIMBÓLICOS como um dos novos caminhos. Aponta nas
ARTES um bem econômico integrado e motivador de uma civilização. Aponta nas ARTES um meio sensível e concreto para cultivar a
consciência coletiva sul-rio-grandense
integrada na consciência coletiva </span>brasileira<span style="font-size: 12pt;">. Aponta nas ARTES meios mais
humano e distantes da barbárie e selvageria. Os governos, as instituições e e
pessoas que compreendem e praticam este PROJETO CIVILIZATÓRIO COMPENSADOR da
VIOLÊNCIA sabem que </span>qualquer<span style="font-size: 12pt;"> investimento nesta área traz retornos positivos e que contornam </span>surpresaras negativas<span style="font-size: 12pt;"> e desastres irreversíveis</span></span></div>
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<span style="font-family: "Arial","sans-serif"; mso-fareast-language: PT-BR;">Página do
FACE BOOK do GRUPO de PESQUISA da
AAMARGS</span><span style="font-family: "Arial","sans-serif";"><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "arial narrow" , "sans-serif"; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">BLOG de ARTE</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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BRAZILENSE 1808-1822</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="ES-CL" style="font-family: "arial narrow" , "sans-serif"; mso-ansi-language: ES-CL; mso-bidi-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;">VÌDEO</span></b><span style="mso-fareast-language: ZH-CN;"><o:p></o:p></span></div>
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<span style="color: black; font-family: "arial narrow" , "sans-serif"; mso-ansi-language: ES-CL; mso-bidi-font-family: "Arial Narrow"; mso-fareast-font-family: "Arial Narrow"; mso-fareast-language: ZH-CN;"><span style="mso-spacerun: yes;"> </span></span><span style="mso-fareast-language: ZH-CN;"><a href="http://www.youtube.com/watch?v=qdqXEg7ugxA"><span lang="ES-CL" style="color: navy; font-family: "arial narrow" , "sans-serif"; mso-ansi-language: ES-CL; mso-bidi-font-family: "Arial Narrow";">http://www.youtube.com/watch?v=qdqXEg7ugxA</span></a></span><span lang="ES-CL" style="font-family: "arial narrow" , "sans-serif"; font-size: 11.0pt; line-height: 150%;"><o:p></o:p></span></div>
<br />Prof. Círio Simonhttp://www.blogger.com/profile/06566693954184732946noreply@blogger.com0tag:blogger.com,1999:blog-1362905750550965943.post-73944333506879558712020-05-22T05:41:00.000-07:002020-05-23T07:33:20.232-07:00285 - DOIS MESES de SESSÕES VIRTUAIS<div style="text-align: center;">
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<span style="font-family: "arial black" , sans-serif;"><span style="font-size: x-large;">DOIS
MESES de SESSÕES VIRTUAIS do GRUPO de PESQUISAS da AAMARGS</span></span><o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIVN8-TeGge9PvSjRJO32nJAYSFCntvzsCqDVxfeum5gn3tB0JjIMMXCiJh0sRbCCZlIgOIkd1j3SBU54jXqJ2xSKpZHi_lEIALTv0TGAb9ef67dd6OAgktpvSzzQMQxwuH8_dwLQWyp20/s1600/01++AAMARGS+em+14.03.2019+d.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1286" data-original-width="1600" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIVN8-TeGge9PvSjRJO32nJAYSFCntvzsCqDVxfeum5gn3tB0JjIMMXCiJh0sRbCCZlIgOIkd1j3SBU54jXqJ2xSKpZHi_lEIALTv0TGAb9ef67dd6OAgktpvSzzQMQxwuH8_dwLQWyp20/s400/01++AAMARGS+em+14.03.2019+d.jpg" width="400" /></a></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 01 <b>As SESSÔES PRESENCIAIS, como as VIRTUAIS,
do GRUPO de PESQUISA ocorrem por efeito do convite da diretoria da ASSOCIAÇÃO
de AMIGOS do MUSEU de ARTE de RIO GRANDE do SUL (AAMARGS) sob o alto patrocínio
e reconhecimento da DIREÇAO do MARGS. </b>Esta atividade se integra na
necessidade - da sociedade civil com ESTATUTO PRÓPRIO legalmente reconhecido -
dar efetivo apoio às instituições públicas e gratuitas poderem cumprir os seus
altos desígnios civilizatórios<o:p></o:p></span></div>
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<b><span style="font-family: "calibri" , sans-serif; font-size: 18.0pt;">SUMÁRIO das POSTAGENS no <o:p></o:p></span></b></div>
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<b><span style="font-family: "calibri" , sans-serif; font-size: 18.0pt;">FACE BOOK de CÍRIO SIMON<o:p></o:p></span></b></div>
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<b><span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">SUMÁRIO das SESSÔES VIRTUAIS do mês </span></b><b><u><span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 20.0pt;">MARÇO</span></u></b><b><u><span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span></u></b><b><span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">de </span></b><b><span style="color: #c00000; font-family: "french script mt"; font-size: 20pt;">2020<i><o:p></o:p></i></span></b></div>
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<b><i><span style="color: #c00000; font-family: "french script mt"; font-size: 20.0pt;"><br /></span></i></b></div>
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<b><i><u><span style="color: #0e1509; font-family: "monotype corsiva"; font-size: 16.0pt;">CLÍCKE sibre os LINCK'S para abrir:<o:p></o:p></span></u></i></b></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">13 de março de 2020: </span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">SESSÃO PRESENCIAL</span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt;"> <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=866935027088984&set=gm.2536431433241712&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=866935027088984&set=gm.2536431433241712&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">17 de março de 2020:</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">Francis PELICHEK </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">“VERNISSAGEM”</span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;"><a href="https://www.facebook.com/photo.php?fbid=869639440151876&set=gm.2539505552934300&type=3&theater&ifg=1" target="_blank"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #1155cc; font-family: "arial" , sans-serif;">https://www.facebook.com/photo.php?fbid=869639440151876&set=gm.2539505552934300&type=3&theater&ifg=1</span></a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">18 de março de 2020:</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><span class="hascaption"><span style="background: white; color: #1c1e21; font-family: "arial black" , sans-serif; font-size: 14.0pt;">Francis PELICHEK </span></span><span class="hascaption"><i><span style="background: white; color: #1c1e21; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">“Baile em São Marcos”</span></i></span><span class="hascaption"><span style="background: white; color: #1c1e21; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> óleo sobre tela 1924</span></span><span style="background: white; color: #1c1e21; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span><br />
<span class="hascaption"><span style="background: white; color: #1c1e21; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"></span></span><br />
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<span style="color: #222222; font-family: "Arial Narrow",sans-serif; mso-bidi-font-family: Arial;"><span style="color: #1155cc;"><a href="https://www.facebook.com/photo.php?fbid=870313126751174&set=gm.2540313732853482&type=3&theater&ifg=1" target="_blank">https://www.facebook.com/photo.php?fbid=870313126751174&set=gm.2540313732853482&type=3&theater&ifg=1</a></span><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">19 de março de 2020: </span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="background: white; color: #1c1e21; font-family: "arial black" , sans-serif; font-size: 14.0pt;">Pedro
WEINGÄRTNER </span><span style="background: white; color: #1c1e21; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">(1853-1929)</span><span style="background: white; color: #1c1e21; font-family: "arial black" , sans-serif; font-size: 14.0pt;"> <o:p></o:p></span></div>
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<i><span style="background: white; color: #1c1e21; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">“Vendedor de Bananas”</span></i><span style="background: white; color: #1c1e21; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> 1920 - óleo
31 x 49 cm</span><span style="color: #5f6368; font-family: "arial narrow" , sans-serif; font-size: 14.0pt; letter-spacing: 0.25pt;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=871036803345473&set=gm.2541174096100779&type=3&theater&ifg=1" target="_blank"><span style="color: #1155cc;">https://www.facebook.com/photo.php?fbid=871036803345473&set=gm.2541174096100779&type=3&theater&ifg=1</span></a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">20 de março de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">:</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt; letter-spacing: -1.5pt;">OSCAR BOEIRA </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt; letter-spacing: -1.5pt;">(1883-194<span style="color: grey;">3</span><i>) - “</i></span><i><span style="color: #666666; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">Harmonia Dourada”</span></i><span style="color: #666666; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">, - sem
data | óleo sobre cartão | 10 x 23 cm | </span><span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=871762623272891&set=gm.2542081049343417&type=3&theater&ifg=1" target="_blank"><span style="color: #1155cc;">https://www.facebook.com/photo.php?fbid=871762623272891&set=gm.2542081049343417&type=3&theater&ifg=1</span></a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">20 de março de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">Waldeny ELIAS</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> ( 1931-2010) </span><span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt; line-height: 150%;"><a href="https://www.facebook.com/photo.php?fbid=872496103199543&set=gm.2542987242586131&type=3&theater&ifg=1" target="_blank"><span style="color: #1155cc;">https://www.facebook.com/photo.php?fbid=872496103199543&set=gm.2542987242586131&type=3&theater&ifg=1</span></a></span><i><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt; letter-spacing: -1.5pt; line-height: 150%;"><o:p></o:p></span></i></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">22 de março de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">:</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">Marciano SCHMITZ</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">:
quando a NATUREZA e a ARTE se ENTENDEM e RESPEITAM RECIPROCAMENTE<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=873232676459219&set=gm.2543999835818205&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=873232676459219&set=gm.2543999835818205&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=873232676459219&set=gm.2543999835818205&type=3&theater&ifg=1" target="_blank"><span style="color: #1155cc;">https://www.facebook.com/photo.php?fbid=873232676459219&set=gm.2543999835818205&type=3&theater&ifg=1</span></a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">23 de março de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">:</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">Quando ARQUITETURA ainda queria SER ARTE</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> no RIO GRANDE do SUL <o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=873936823055471&set=gm.2544958579055664&type=3&theater&ifg=1" target="_blank"><span style="color: #1155cc;">https://www.facebook.com/photo.php?fbid=873936823055471&set=gm.2544958579055664&type=3&theater&ifg=1</span></a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">24 de março de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">:</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><b><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">FORMARTURA da PRIMEIRA TURMA de URBANISTAS do BRASI</span></b><b><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">L com
FORMAÇÂO SUPERIOR ESPECIFICA no Instituto de Belas Artes do Rio Grande do Sul
no dia 13 de abril de1949<o:p></o:p></span></b></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=874646529651167&set=gm.2545877272297128&type=3&theater&ifg=1" target="_blank"><span style="color: #1155cc;">https://www.facebook.com/photo.php?fbid=874646529651167&set=gm.2545877272297128&type=3&theater&ifg=1</span></a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">25 de março de 2020</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">: </span><span style="color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><b><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">QUANDO
uma OBRA de ARTE DESAFIA o TEMPO</span></b><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> Vasco PRADO (1914-1998) - Mural
do Palácio Farroupilha<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=875360452913108&set=gm.2546805498870972&type=3&theater&ifg=1" target="_blank"><span style="color: #1155cc;">https://www.facebook.com/photo.php?fbid=875360452913108&set=gm.2546805498870972&type=3&theater&ifg=1</span></a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">25 de março de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">:</span><span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><b><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">GRUPO
de PESQUISAS da AMARGS</span></b><span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=518020965059137&set=gm.1775648369320026&type=3&theater&ifg=1" target="_blank"><span style="color: #1155cc;">https://www.facebook.com/photo.php?fbid=518020965059137&set=gm.1775648369320026&type=3&theater&ifg=1</span></a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">26
de março de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">:</span><span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><b><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">ARTISTA DEVE IR para a UNIVERSIDADE</span></b><b><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">.<o:p></o:p></span></b></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=876064562842697&set=gm.2547686878782834&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=876064562842697&set=gm.2547686878782834&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">27 de março de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><b><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">Uma visita à POMONA de IRAI.</span></b><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=876777296104757&set=gm.2548591025359086&type=3&theater&ifg=1" target="_blank"><span style="color: #1155cc;">https://www.facebook.com/photo.php?fbid=876777296104757&set=gm.2548591025359086&type=3&theater&ifg=1</span></a><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">28 de março de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">:</span><span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">As PIONEIRAS<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=877497542699399&set=gm.2549490441935811&type=3&theater&ifg=1" target="_blank"><span style="color: #1155cc;">https://www.facebook.com/photo.php?fbid=877497542699399&set=gm.2549490441935811&type=3&theater&ifg=1</span></a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">29 de março de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">QUATRO
MESTRES, QUATRO CAMINHOS e uma CONVERGÊNCIA.<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=878183885964098&set=gm.2550418051843050&type=3&theater&ifg=1" target="_blank"><span style="color: #1155cc;">https://www.facebook.com/photo.php?fbid=878183885964098&set=gm.2550418051843050&type=3&theater&ifg=1</span></a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">30 de março de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">:</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">APARECE MAIS uma OBRA de ARAÚJO PORTO-ALEGRE</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> <o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=878870812562072&set=gm.2551338328417689&type=3&theater&ifg=1" target="_blank"><span style="color: #1155cc;">https://www.facebook.com/photo.php?fbid=878870812562072&set=gm.2551338328417689&type=3&theater&ifg=1</span></a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">21
de março de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">:</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> As suaves
tertúlias das sessões virtuais do GRUPO de PESQUISAS da AAMARGS prosseguem com:<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt; line-height: 150%;"><a href="https://profciriosimon.blogspot.com/2020/03/284-isto-e-arte.html">https://profciriosimon.blogspot.com/2020/03/284-isto-e-arte.html</a><o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">Judite FORTES </span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; mso-bidi-font-family: Arial;"><a href="http://profciriosimon.blogspot.com/2018/05/230-estudos-de-arte.html" target="_blank"><span style="color: #1155cc;">http://profciriosimon.blogspot.com/2018/05/230-estudos-de-arte.html</span></a><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; mso-bidi-font-family: Arial;"><a href="https://www.facebook.com/photo.php?fbid=879525659163254&set=gm.2552209298330592&type=3&theater&ifg=1" target="_blank"><span style="color: #1155cc;">https://www.facebook.com/photo.php?fbid=879525659163254&set=gm.2552209298330592&type=3&theater&ifg=1</span></a><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivVOMOuPHzq6YA7H37xjvijEDcDmx6AryJc5uP_geL8a4sXFdUvI5fYdWOq2GGwnOpYF-Yrjzma4aZ_DIaOfYsIFWmYeuL_xrYibgfqwVrmoTsWEy0Ik_bZVwj3bSi5ZDn2TAH56fYqXOr/s1600/02+SUM%25C3%2580RIO+do+CURSO+e+2020.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1043" data-original-width="1600" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivVOMOuPHzq6YA7H37xjvijEDcDmx6AryJc5uP_geL8a4sXFdUvI5fYdWOq2GGwnOpYF-Yrjzma4aZ_DIaOfYsIFWmYeuL_xrYibgfqwVrmoTsWEy0Ik_bZVwj3bSi5ZDn2TAH56fYqXOr/s400/02+SUM%25C3%2580RIO+do+CURSO+e+2020.jpg" width="400" /></a></div>
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clique sobre o gráfico para ler</div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 02 <b>O projeto, do primeiro semestre de 2020, do
GRUPO de PESQUISA da ASSOCIAÇÂO de AMIGOS do MUSEU de ARTE de RIO GRANDE do SUL
(AAMARGS) não pode ser realizado no cronograma previsto. </b>Esta atividade irá
ser realizada num momento oportuno, As SESSÔES VIRTUAIS<b> </b>enveredaram para outras temáticas e demonstraran fartamente o
gigantesco volume de informações, memórias e a obras de ARTES VISUAIS do Rio
Grande do Sul. Este GIGANTESCO PATRIMÒNUIO SUL-RIO-GRANFENSE será oportuno na
épica do BICENTENÀTRIO da INDEPENDÊNCIA do
BRASIL ipara integrara as bases materiais e objetivas que sustentam a a
CONSCIÊNCIA COLETIVA NACIONAL<o:p></o:p></span></div>
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<b><span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">SUMÁRIO das SESSÔES VIRTUAIS do mês </span></b><b><u><span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 20.0pt;">ABRIL </span></u></b><b><span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">de 2020<o:p></o:p></span></b></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">01 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">:</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> ARTES VISUAIS do Rio Grande do Sul<o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">NÂO
EXISTE DIA da MENTIRA em ARTE<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=880219382427215&set=gm.2553071718244350&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=880219382427215&set=gm.2553071718244350&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://profciriosimon.blogspot.com/2020/03/284-isto-e-arte.html">https://profciriosimon.blogspot.com/2020/03/284-isto-e-arte.html</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">02 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">:</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">EDLA HOFFSTETER
da SILVA</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="http://profciriosimon.blogspot.com/2011/09/isto-e-arte-007.html" target="_blank"><span style="color: #1155cc;">http://profciriosimon.blogspot.com/2011/09/isto-e-arte-007.html</span></a><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=880884615694025&set=gm.2553944118157110&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=880884615694025&set=gm.2553944118157110&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">03 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">:</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> ARTES VISUAIS do Rio Grande do Sul<o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">DIREITO
à PESQUISA, ATUALIZAÇÂO da INTELIGÊNCIA CONSCIÊNCIA COLETIVA</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">
<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=881565245625962&set=gm.2554795504738638&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=881565245625962&set=gm.2554795504738638&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">04 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">:</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> ARTES VISUAIS do Rio Grande do Sul<o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">OBJETIVOS
do GRUPO de PESQUISAS da AAMARGS<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=882245992224554&set=gm.2555649067986615&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=882245992224554&set=gm.2555649067986615&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">05 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">:</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">ARTES
VISUAIS do Rio Grande do Sul<o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">PINTURA;
tinta sobre uma superfície</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=882875632161590&set=gm.2556549724563216&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=882875632161590&set=gm.2556549724563216&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">06 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">:</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">ARTES
VISUAIS do Rio Grande do Sul<o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">TESTAMENTO
de DOIS PINTORES</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=883615698754250&set=gm.2557446764473512&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=883615698754250&set=gm.2557446764473512&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;"> 07 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">:</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">ARTES
VISUAIS do Rio Grande do Sul<o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">ACASO
NÃO é ARTE</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=884307935351693&set=gm.2558302124387976&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=884307935351693&set=gm.2558302124387976&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">08 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">:</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">ARTES
VISUAIS do Rio Grande do Sul<o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">Dom
Vicente</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> por </span><span style="color: #1c1e21; font-family: "arial black" , sans-serif; font-size: 14pt;">Wilhelm Luiz
Heirich August TESCHMEIR</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=884988398616980&set=gm.2559232547628267&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=884988398616980&set=gm.2559232547628267&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">09 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">:</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; mso-bidi-font-size: 11.0pt; mso-fareast-language: ZH-CN;"> </span><span style="font-family: "arial narrow" , sans-serif; mso-bidi-font-size: 11.0pt;">DESCENTRALIZANDO as ARTES VISUAIS do Rio
Grande do Sul<o:p></o:p></span></div>
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<span style="background: white; color: #1c1e21; font-family: "arial black" , sans-serif;">FRANZ AUGUST
STEINBACHER (1887-1937)</span><span style="font-family: "arial black" , sans-serif; mso-bidi-font-size: 11.0pt;"> ÚLTIMA CEIA - Rio Pardo<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; mso-bidi-font-size: 11.0pt;"><a href="https://www.facebook.com/photo.php?fbid=885647755217711&set=gm.2560098707541651&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=885647755217711&set=gm.2560098707541651&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">10
de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">:</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; mso-bidi-font-size: 11.0pt; mso-fareast-language: ZH-CN;"> </span><span style="font-family: "arial narrow" , sans-serif; mso-bidi-font-size: 11.0pt;">DESCENTRALIZANDO
as ARTES VISUAIS do Rio Grande do Sul<o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; mso-bidi-font-size: 11.0pt;">ECCE
HOMO _ Manuel Araújo Porto-alegre </span><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #1c1e21; font-family: "arial black" , sans-serif;">(1809-1879</span><span style="font-family: "arial black" , sans-serif; mso-bidi-font-size: 11.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; mso-bidi-font-family: Arial; mso-bidi-font-size: 11.0pt;"><a href="https://www.facebook.com/photo.php?fbid=886314458484374&set=gm.2560992600785595&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=886314458484374&set=gm.2560992600785595&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">11 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; mso-bidi-font-size: 11.0pt;"> DESCENTRALIZANDO as ARTES VISUAIS do Rio
Grande do Sul<o:p></o:p></span></div>
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<span style="color: #1d2129; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">HISTÓRIA do RETRATO no RIO GRANDE
do SUL no século XIX.</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; mso-bidi-font-size: 11.0pt;">SEELOW
retrato de indígena 1825</span><span style="font-family: "arial black" , sans-serif; mso-bidi-font-family: Arial; mso-bidi-font-size: 11.0pt;"><o:p></o:p></span></div>
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<span style="background: white; color: #1c1e21; font-family: "arial narrow" , sans-serif;">HISTÓRIA do
RETRATO no RIO GRANDE do SUL no século XIX</span><span style="font-family: "arial narrow" , sans-serif; mso-bidi-font-size: 11.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; mso-bidi-font-family: Arial; mso-bidi-font-size: 11.0pt;"><a href="https://www.facebook.com/photo.php?fbid=886960235086463&set=gm.2561871827364339&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=886960235086463&set=gm.2561871827364339&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="background: white; color: #1c1e21; font-family: "arial narrow" , sans-serif;"><br />
</span><span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">12 de abril
de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">ARTES VISUAIS
do Rio Grande do Sul<o:p></o:p></span></div>
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<span style="color: #1d2129; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">HISTÓRIA do RETRATO no RIO GRANDE
do SUL no século XIX.</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">AUTORRETRATO
MANUEL ARAÚJO PORTO-ALEGRE</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=887691331680020&set=gm.2562826907268831&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=887691331680020&set=gm.2562826907268831&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">13 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">:</span><span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">ARTES VISUAIS
do Rio Grande do Sul<o:p></o:p></span></div>
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<span style="color: #1d2129; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">HISTÓRIA do RETRATO no RIO GRANDE
do SUL no século XIX.</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">CONDE
de PORTO ALE</span><span style="color: #1d2129; font-family: "arial black" , sans-serif; font-size: 14.0pt;">
</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">GRE por Adriano Pittanti</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=888412411607912&set=gm.2563774343840754&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=888412411607912&set=gm.2563774343840754&type=3&theater&ifg=1</a></span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">14 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">DESCENTRALIZANDO
as ARTES VISUAIS do Rio Grande do Sul<o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">TÚMULO
de PITTANTI</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> “</span><span style="color: #1c1e21; font-family: "arial black" , sans-serif; font-size: 14pt;">A ESPERA de TUTTI QUANTI”</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=889139814868505&set=gm.2564726407078881&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=889139814868505&set=gm.2564726407078881&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">15 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">DESCENTRALIZANDO
as ARTES VISUAIS do Rio Grande do Sul<o:p></o:p></span></div>
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<span style="background: white; color: #1c1e21; font-family: "arial black" , sans-serif; font-size: 14.0pt;">Silvestre PECIAR
BASIACO (1935-2017)</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=889927984789688&set=gm.2565739296977592&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=889927984789688&set=gm.2565739296977592&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">16 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">DESCENTRALIZANDO
as ARTES VISUAIS do Rio Grande do Sul</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #1c1e21; font-family: "arial black" , sans-serif; font-size: 14pt;">Vasco PRADO
(1914-1998) NEGRINHO do PASTOREIO </span><span style="color: #1c1e21; font-family: "arial narrow" , sans-serif; font-size: 14pt;">– ALEGRETE -RS</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=890621374720349&set=gm.2566628346888687&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=890621374720349&set=gm.2566628346888687&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<br /></div>
<div align="center" class="MsoNormal" style="margin-left: 35.4pt; text-align: center;">
<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">17 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><b><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span></b><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">DESCENTRALIZAR a ARTE do RIO GRANDE do SUL<o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">Ruth
SCHNEIDER (1943-2003</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">)
Passo Fundo -RS<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=891398041309349&set=gm.2567642943453894&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=891398041309349&set=gm.2567642943453894&type=3&theater&ifg=1</a></span><b><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></b></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">18 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">DESCENTRALIZANDO
as ARTES VISUAIS do Rio Grande do Sul<o:p></o:p></span></div>
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<span style="color: #1c1e21; font-family: "arial black" , sans-serif; font-size: 14pt;">Justina Maria
KERNER POHLMANN (1843-1941)</span><span style="color: #1c1e21; font-family: "arial narrow" , sans-serif; font-size: 14pt;"><br />
</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=892173991231754&set=gm.2568649226686599&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=892173991231754&set=gm.2568649226686599&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">19 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">ARTES
VISUAIS do Rio Grande do SUL<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=893157541133399&set=gm.2569951536556368&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=893157541133399&set=gm.2569951536556368&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">TRINTA
DIAS de SESSÔES VIRTUAIS ININTERRUPTAS <o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">18 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">DESCENTRALIZANDO
as ARTES VISUAIS do Rio Grande do Sul.<o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">MONUMENTO
à INDEPENDÊNCIA SANTA CRUZ do SUL</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="background: white; color: #1c1e21; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">Um MONUMENTO
PÚBLICO QUE REMANESCEU ao CENTENÁRIO da INDEPENDÊNCIA do BRASIL de 1922 no RIO
GRANDE do SUL</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=892894414493045&set=gm.2569626613255527&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=892894414493045&set=gm.2569626613255527&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">20 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">DESCENTRALIZANDO
as ARTES VISUAIS do Rio Grande do Sul<o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">Monumento
COLUNA PRESTES </span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #1c1e21; font-family: "arial narrow" , sans-serif; font-size: 14pt;">Oscar NIEMEYER em SANTO ÂNGELO - RS</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=893607204421766&set=gm.2570566039828251&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=893607204421766&set=gm.2570566039828251&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<br /></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">21 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">ARTES
VISUAIS do Rio Grande do Sul.<o:p></o:p></span></div>
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<span style="color: #1c1e21; font-family: "arial narrow" , sans-serif; font-size: 14pt;">Imagem </span><span style="color: #1c1e21; font-family: "arial black" , sans-serif; font-size: 14pt;">MONUMENTO a
TIRADENTES da autoria de Vasco Prado</span><span style="color: #1c1e21; font-family: "arial narrow" , sans-serif; font-size: 14pt;">.</span><span style="color: #1c1e21; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><br />
</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://arquivopoa.blogspot.com/2010/04/o-tiradentes-de-vasco-prado.html?fbclid=IwAR1LReZHBXI69fGO-ximHm-pfUTWGgpp7NxuCcBOsh7HStj2NfSfCftoOI4" target="_blank"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; color: #385898;">http://arquivopoa.blogspot.com/2010/04/o-tiradentes-de-vasco-prado.html</span></a><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=894231907692629&set=gm.2571384346413087&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=894231907692629&set=gm.2571384346413087&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">22 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> DESCENTRALIZANDO as ARTES VISUAIS do Rio
Grande do Sul<o:p></o:p></span></div>
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<span style="color: #1c1e21; font-family: "arial black" , sans-serif; font-size: 14pt;">22 de ABRIL de
2020 </span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">IBA-RS 112 anos</span><span style="color: #1c1e21; font-family: "arial narrow" , sans-serif; font-size: 14pt;"><br />
</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=894624870986666&set=gm.2571854493032739&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=894624870986666&set=gm.2571854493032739&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">23 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">DESCENTRALIZANDO
as ARTES VISUAIS do Rio Grande do Sul</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">CIGARROS
MARCA DIABO</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=895602144222272&set=gm.2573097652908423&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=895602144222272&set=gm.2573097652908423&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">24 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> DESCENTRALIZANDO as ARTES VISUAIS do Rio
Grande do Sul<o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">Adail
Bento COSTA Filho</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> (Pelotas*1908
+1980)<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=896346380814515&set=gm.2574030156148506&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=896346380814515&set=gm.2574030156148506&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">25 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> DESCENTRALIZANDO as ARTES VISUAIS do Rio
Grande do Sul<o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">Paulo
Batista SIQUEIRA </span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> (Soledade-RS
*1949 – Chapecó-SC +1996)</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #333333; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=896964600752693&set=gm.2574827076068814&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=896964600752693&set=gm.2574827076068814&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">26 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> As SILENCIOSAS ARTES VISUAIS do Rio Grande do
Sul diante dos OLHOS de TODOS<o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">Avatar
da SILVA MORAIS </span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> (Bagé *1933
– Rio de Janeiro +2011)<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=897701250679028&set=gm.2575732692644919&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=897701250679028&set=gm.2575732692644919&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">27 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">A
ÉTICA nas ARTES VISUAIS no RIO GRANDE do SUL.</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">Oscar
BOEIRA (1883-1943)<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=898375547278265&set=gm.2576552499229605&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=898375547278265&set=gm.2576552499229605&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">28 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">A
VIDA IMITA as ARTES VISUAIS do RIO GRANDE do SUL</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">Os
PERSONAGENS EMPAREDADOS <o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">Avatar
da SILVA MORAIS </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> (Bagé *1933
– Rio de Janeiro +2011)<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=899056593876827&set=gm.2577356402482548&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=899056593876827&set=gm.2577356402482548&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">29 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> As SILENCIOSAS ARTES VISUAIS do Rio Grande do
Sul declaram a sua VERDADE diante dos OLHOS de TODOS A BELEZA como o ESPLENDOR
da VERDADE.<o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">Clóvis
PERETTI ( *Frederico WASPHALEN-RS, 1935 - + Porto Alegre. 1995)</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=899785350470618&set=gm.2578103439074511&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=899785350470618&set=gm.2578103439074511&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">30 de abril de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> As SILENCIOSAS ARTES VISUAIS do Rio Grande do
Sul diante dos OLHOS de TODOS </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">TODA OBRA de
ARTE é POLÍTICA.<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">Manoel
Araújo Porto-alegre (Rio Pardo - RS *1809- Lisboa +1879)</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=900473087068511&set=gm.2578933478991507&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=900473087068511&set=gm.2578933478991507&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgilGicDqBvPHvP6ngaFE6IvL5Xa5YSwrm4DNkZXa1xqUHHkllKcOp1WsMGvU1en0FLz7kMxmlUmmJrPBVFn98g2LnhekUHMD8INmKIpCDc051syKVssIvvGHO9PFLpLRtMRujVFKY3525a/s1600/03+%25C2%25B4AAMARGS+em+07.03.2019+a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1194" data-original-width="1600" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgilGicDqBvPHvP6ngaFE6IvL5Xa5YSwrm4DNkZXa1xqUHHkllKcOp1WsMGvU1en0FLz7kMxmlUmmJrPBVFn98g2LnhekUHMD8INmKIpCDc051syKVssIvvGHO9PFLpLRtMRujVFKY3525a/s400/03+%25C2%25B4AAMARGS+em+07.03.2019+a.jpg" width="400" /></a></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 03 <b>Os assuntos da pauta da do GRUPO de
PESQUISA da ASSOCIAÇÂO de AMIGOS do MUSEU de ARTE de RIO GRANDE do SUL
(AAMARGS) nunca se esgotam nos 90 minutos das sessões presenciais. </b>Continuavam
a praticar literalmente o “SIMPÒSIO” dos gregos ou, conforme Neusa
CAVEDON, integrante do Grupo, “propiciar, aos cinco sentidos humanos,
momentos a percepção complata. <o:p></o:p></span></div>
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<b><span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">SUMÁRIO das SESSÔES VIRTUAIS do mês </span></b><b><u><span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 20.0pt;">MAIO</span></u></b><b><span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;"> de 2020<o:p></o:p></span></b></div>
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<span style="font-family: "arial narrow" , sans-serif; mso-fareast-language: ZH-CN;"> </span><span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">01 de maio de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: ARTES
VISUAIS do RIO GRANDE do SUL<o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">UNIVERSIADE de 1963</span><span style="background: white; color: #1c1e21; font-family: "arial black" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=901214993660987&set=gm.2579833615568160&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=901214993660987&set=gm.2579833615568160&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">02 de maio de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> ARTES VISUAIS do RIO GRANDE do SUL<o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;">Charles Sebastião MAYER </span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> (1933-´-2013
)</span><span style="background: white; color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=901867393595747&set=gm.2580613648823490&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=901867393595747&set=gm.2580613648823490&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">03 de maio de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><span style="font-family: "arial narrow" , sans-serif; mso-fareast-language: ZH-CN;">RECENTES
VISITAS de ARTISTAS VISUAIS ao RIO GRANDE do SUL</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;">JÚLIO PLAZA (*</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">1939-´+2003
)<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">OCUPANDO o LUGAR da ESTÁTUA ANTIGA AUSENTE<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=902581523524334&set=gm.2581451338739721&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=902581523524334&set=gm.2581451338739721&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">04 de maio de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><span style="font-family: "arial narrow" , sans-serif; mso-fareast-language: ZH-CN;">RECENTES
VISITAS de ARTISTAS VISUAIS ao RIO GRANDE do SUL</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;">TADEUSZ LAPINSKY</span><span style="background: white; color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;"> (*</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">1923-´+2018</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">)<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=903308446784975&set=gm.2582227485328773&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=903308446784975&set=gm.2582227485328773&type=3&theater&ifg=1</a></span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">05 de maio de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><span style="font-family: "arial narrow" , sans-serif; mso-fareast-language: ZH-CN;">RECENTES
VISITAS de ARTISTAS VISUAIS ao RIO GRANDE do SUL</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;">ALMIR MAVIGNER</span><span style="background: white; color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;"> (*</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">1925 -´+2018</span><span style="color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;">)</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14pt;"><a href="https://www.facebook.com/photo.php?fbid=903962296719590&set=gm.2582962965255225&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=903962296719590&set=gm.2582962965255225&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">06 de maio de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: SÓ se AMA
o que se CONHECE:)<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">Um BUSTO em PRAÇA PÚBLICA de PORTO ALEGRE: </span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">Eduardo GUIMARÃES </span><span style="font-family: "arial narrow" , sans-serif; mso-fareast-language: ZH-CN;">(1892-1928)<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=904674806648339&set=gm.2583846131833575&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=904674806648339&set=gm.2583846131833575&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">07 de maio de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">:
ATUALIZADORES da INTELGÊNCIA ESTÉTICA das </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">ARTISTAS
VISUAIS ao RIO GRANDE do SUL<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;">WALTER ZANINI </span><span style="background: white; color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;">(*</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">1925 -´+2013</span><span style="background: white; color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;">)</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="background: white; color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=905334333249053&set=gm.2584582688426586&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=905334333249053&set=gm.2584582688426586&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">08 de maio de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: ATUALIZADORES da INTELGÊNCIA ESTÉTICA das
ARTISTAS VISUAIS ao RIO GRANDE do SUL<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;">DÉCIO PIGNATARI </span><span style="background: white; color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;">(*</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">1927
-´+2012</span><span style="background: white; color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;">)</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=906026639846489&set=gm.2585319911686197&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=906026639846489&set=gm.2585319911686197&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">09 de maio de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: PENSADORES das ARTES VISUAIS do RIO GRANDE
do SUL<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;">
<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">O MARGS e </span><span style="font-family: "arial" , sans-serif; font-size: 14.0pt;">o PENSAMENTO de</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> JOÃO CARLOS
TIBURSKY </span><span style="font-family: "arial" , sans-serif; font-size: 14.0pt;">(*1950 - +2011).– ESTUDOS de ARTE Postagem nº 223<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="http://profciriosimon.blogspot.com.br/2017/12/208-estudos-de-arte.html"><span style="color: windowtext;">http://profciriosimon.blogspot.com.br/2017/12/208-estudos-de-arte.html</span></a><o:p></o:p></span></div>
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<span style="background: white; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=906753786440441&set=gm.2586184754933046&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=906753786440441&set=gm.2586184754933046&type=3&theater&ifg=1</a></span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">10 de maio de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: PENSADORES das ARTES VISUAIS do RIO GRANDE do
SUL<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;">
<span style="font-family: "arial" , sans-serif; font-size: 14.0pt;">O PENSAMENTO de </span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">Walmir Felix AYALA</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> (1933-1991).<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">– ESTUDOS de ARTE Postagem nº 207<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="http://profciriosimon.blogspot.com.br/2017/12/207-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/12/207-estudos-de-arte.html</a><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=907412786374541&set=gm.2586911194860402&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=907412786374541&set=gm.2586911194860402&type=3&theater&ifg=1</a></span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">11 de maio de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: PENSADORES das ARTES VISUAIS do RIO GRANDE do
SUL<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;">
<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">O </span><span style="font-family: "arial" , sans-serif; font-size: 14.0pt;">PENSAMENTO de</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> DOM ANTÔNIO
do CARMO CHEUICHE</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> (1927-2009).<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">Blog::ESTUDOS de ARTE: postagem nº221 – </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="http://profciriosimon.blogspot.com.br/2017/12/221-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/12/221-estudos-de-arte.html</a></span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=908156176300202&set=gm.2587742114777310&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=908156176300202&set=gm.2587742114777310&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">12 de maio de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: PENSADORES das ARTES VISUAIS do RIO GRANDE do
SUL<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;">
<span style="font-family: "arial" , sans-serif; font-size: 14.0pt;">O PENSAMENTO de</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> CARLOS SCARINCI</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">
(1932-2015)..– ESTUDOS de ARTE postagem nº-220 </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="http://profciriosimon.blogspot.com.br/2017/11/220-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/11/220-estudos-de-arte.html</a></span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=908851716230648&set=gm.2588545511363637&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=908851716230648&set=gm.2588545511363637&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">13 de maio de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: PENSADORES das ARTES VISUAIS do RIO GRANDE do
SUL<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="mso-hyphenate: none; text-align: center;">
<span style="font-family: "arial" , sans-serif; font-size: 14.0pt;">O PENSAMENTO de </span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">FRANCISCO RIOPARDENSE de MACEDO</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">(1921-2007).– ESTUDOS de ARTE Postagem nº 219 </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="http://profciriosimon.blogspot.com.br/2017/11/219-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/11/219-estudos-de-arte.html</a></span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=909494126166407&set=gm.2589289791289209&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=909494126166407&set=gm.2589289791289209&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">14 de maio de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: PENSADORES das ARTES VISUAIS do RIO GRANDE
do SUL<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="background: white; text-align: center;">
<span style="font-family: "arial" , sans-serif; font-size: 14.0pt;">O PENSAMENTO de</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;">ATHOS
DAMASCENO FERREIRA</span><span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">(1902-1975)</span><span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> In BLOG – ESTUDOS
de ARTE. Postagem nº 210<a href="http://profciriosimon.blogspot.com.br/2017/09/210-estudos-de-arte.html" target="_blank"><span style="color: #1155cc;">http://profciriosimon.blogspot.com.br/2017/09/210-estudos-de-arte.html</span></a><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=910148299434323&set=gm.2590033404548181&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=910148299434323&set=gm.2590033404548181&type=3&theater&ifg=1</a></span><span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">15 de maio de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: :
PENSADORAS das ARTES VISUAIS do RIO GRANDE do SUL <o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">O </span><span style="font-family: "arial" , sans-serif; font-size: 14.0pt;">PENSAMENTO de</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> ALICE </span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">ARDOHAIN</span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;"> SOARES </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">(1917-2005)
PENSANDO o DESENHO0-Blog ESTUDOS de ARTE. Postagem nº 218 </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="http://profciriosimon.blogspot.com.br/2017/11/218-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/11/218-estudos-de-arte.html</a></span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt; line-height: 150%;"><a href="https://www.facebook.com/photo.php?fbid=910850409364112&set=gm.2590784411139747&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=910850409364112&set=gm.2590784411139747&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">16 de maio de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: PENSADORES das ARTES VISUAIS do RIO GRANDE do
SUL <o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="background: #FAFAFA; mso-hyphenate: none; mso-outline-level: 1; page-break-after: avoid; text-align: center;">
<b><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">O PENSAMENTO de </span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">Aldo MARIANTE </span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">OBINO</span></b><b><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span></b><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">(1913-2007)<b>. <o:p></o:p></b></span></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">In ESTUDOS de ARTE postagem nº 217 –</span></b><b><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></b></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="http://profciriosimon.blogspot.com.br/2017/10/217-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/10/217-estudos-de-arte.html</a><o:p></o:p></span></b></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">FACE BOOK<o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="background: white; text-align: center;">
<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=911527139296439&set=gm.2591588267726028&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=911527139296439&set=gm.2591588267726028&type=3&theater&ifg=1</a></span><span style="color: #222222; font-family: "arial" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">17 de maio de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">:
PENSADORES das ARTES VISUAIS do RIO GRANDE do SUL <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">O PENSAMENTO
de </span><b><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">Herbert MORITZ
CARO</span></b><b><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">
(*1906 - 1991)</span></b><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">0-216 – ESTUDOS de ARTE<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt; line-height: 150%;"><a href="http://profciriosimon.blogspot.com.br/2017/10/216-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/10/216-estudos-de-arte.html</a><o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="background: white; text-align: center;">
<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=912254335890386&set=gm.2592436774307844&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=912254335890386&set=gm.2592436774307844&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">18 de maio de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">PENSADORES das ARTES VISUAIS do RIO
GRANDE do SUL <o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="margin-left: 7.1pt; text-align: center;">
<b><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">O </span></b><span style="font-family: "arial" , sans-serif; font-size: 14.0pt;">PENSAMENTO</span><b><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> do Dr. </span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">FÁBIO de BARROS </span></b><b><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">(1881 – 1952)</span></b><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> – ESTUDOS de
ARTE. postagem nº<i>214</i></span><b><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span></b><b><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="http://profciriosimon.blogspot.com.br/2017/10/214-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/10/214-estudos-de-arte.html</a></span></b><b><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></b></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">FACE BOOK<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=913023689146784&set=gm.2593272940890894&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=913023689146784&set=gm.2593272940890894&type=3&theater&ifg=1</a></span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">19 de maio de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: PENSANDO as ARTES VISUAIS do RIO GRANDE do
SUL SINCRONIZADO com </span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">ÂNGELO GUIDO</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> GNOCCHI
(1893-1969)– ESTUDOS de ARTE postagem nº. 213<o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="http://profciriosimon.blogspot.com.br/2017/09/213-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/09/213-estudos-de-arte.html</a><o:p></o:p></span></b></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">FACE BOOK<br />
<a href="https://www.facebook.com/photo.php?fbid=913746539074499&set=gm.2594073160810872&type=3&theater&ifg=1">https://www.facebook.com/photo.php?fbid=913746539074499&set=gm.2594073160810872&type=3&theater&ifg=1</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">20 de maio de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">:
PENSADORES das ARTES VISUAIS do RIO GRANDE do SUL </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">OS ESCRITOS DE<b> FERNANDO CORONA </b></span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">(1896-1979)</span><span style="color: #c00000; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">E O SABER FILOSÓFICO</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">Artigo
elaborado em setembro de 2017 e apresentado no dia 14 de setembro de 2017 por</span><b><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">
</span></b><b><span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">Neusa Rolita Cavedon</span></b><span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">Publicado em ESTUDOS de ARTE postagem nº. 212 –<o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt; line-height: 150%;"><a href="http://profciriosimon.blogspot.com.br/2017/09/212-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/09/212-estudos-de-arte.html</a><o:p></o:p></span></b></div>
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<b><span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">FACE
BOOK<o:p></o:p></span></b></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo.php?fbid=914463225669497&set=gm.2594843254067196&type=3&theater&ifg=1"><span style="text-decoration-line: none;">https://www.facebook.com/photo.php?fbid=914463225669497&set=gm.2594843254067196&type=3&theater&ifg=1</span></a><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">21 de maio de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: O PENSAMENTO de </span><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">TASSO
BOLIVAR DIAS CORRÊA</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> nas ARTES do RIO GRANDE do SUL. ESTUDOS de ARTE,
postagem nº-171 –<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="http://profciriosimon.blogspot.com/2016/04/171-o-pensamento-de-tasso-correa.html">http://profciriosimon.blogspot.com/2016/04/171-o-pensamento-de-tasso-correa.html</a><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">FACE BOOK<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo/?fbid=915179335597886&set=gm.2595568883994633">https://www.facebook.com/photo/?fbid=915179335597886&set=gm.2595568883994633</a><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #c00000; font-family: "arial black" , sans-serif; font-size: 14.0pt;">22 de maio de 2020</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">: O
PENSAMENTO de <o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">OLYMPIO OLINTO de OLIVEIRA</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> (1866-1956)
nas ARTES do RIO GRANDE do SUL. Postagem ESTUDOS de ARTE</span><span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"> Nº 207</span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="http://profciriosimon.blogspot.com.br/2017/06/0-207-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/06/0-207-estudos-de-arte.html</a><o:p></o:p></span></b></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;">FACE BOOK<o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><a href="https://www.facebook.com/photo/?fbid=915870672195419&set=gm.2596334817251373">https://www.facebook.com/photo/?fbid=915870672195419&set=gm.2596334817251373</a></span><b><span style="color: #222222; font-family: "arial black" , sans-serif; font-size: 14.0pt;"> </span></b><span style="color: #222222; font-family: "arial" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14pt;">A RECEPÇÃO das OBRAS de ARTES VISUAIS.<o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif;">FACE BOOK<o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif;"><a href="https://www.facebook.com/photo/?fbid=915862355529584&set=a.705103509938804">https://www.facebook.com/photo/?fbid=915862355529584&set=a.705103509938804</a><o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif;">PODER ORIGINÁRIO</span><span style="font-family: "arial black" , sans-serif; font-size: 14pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif;"><a href="https://www.poder-originario.com/news/a-recepcao-da-obra-de-arte/">https://www.poder-originario.com/news/a-recepcao-da-obra-de-arte/</a><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbyk0QL9K1eLIQtjqgaPwtBH-csiNbRBOjUZyMt0IFpdJEeoNkzdq6XJIjm3V7OouCnv4kv0L5s3P-GpTJ4zbfm1mDoqHSjsQ0GLawN3AS1Iwh5_0WCFJNrf3gLDniV_IEmCSQED1MVAnK/s1600/04+MASCARA+-+C%25C3%258DRIO+%252B+CORONAVIRUS.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="964" data-original-width="1286" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbyk0QL9K1eLIQtjqgaPwtBH-csiNbRBOjUZyMt0IFpdJEeoNkzdq6XJIjm3V7OouCnv4kv0L5s3P-GpTJ4zbfm1mDoqHSjsQ0GLawN3AS1Iwh5_0WCFJNrf3gLDniV_IEmCSQED1MVAnK/s400/04+MASCARA+-+C%25C3%258DRIO+%252B+CORONAVIRUS.jpg" width="400" /></a></div>
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<span style="color: black;">MÁSCARA para CÍRIO SIMON-Corona vírus<o:p></o:p></span></div>
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<span style="color: black;">Veja a autoria em</span></div>
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<span style="color: black;"><a href="https://www.facebook.com/photo?fbid=10158211645687398&set=pcb.10158211647362398">https://www.facebook.com/photo?fbid=10158211645687398&set=pcb.10158211647362398</a></span><span style="font-family: "arial narrow" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
<br />Prof. Círio Simonhttp://www.blogger.com/profile/06566693954184732946noreply@blogger.com0tag:blogger.com,1999:blog-1362905750550965943.post-48389468215912932582020-04-06T12:09:00.002-07:002020-04-23T17:27:29.425-07:00284 –ISTO é ARTE -<div style="text-align: center;">
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<span style="font-family: "arial black" , sans-serif;"><span style="font-size: x-large;">O papel do
INSTITUTO de BELAS ARTES no período de 1930 até 1964 <o:p></o:p></span></span></div>
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. LABORATÓRIO DE HISTÓRIA das ARTES VISUAIS do RIO GRANDE do
SUL<o:p></o:p></div>
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<b>Previsto para o 3º
Encontro – 01/04/2020 e adiado devido ao CORONAVÍRUS.<o:p></o:p></b></div>
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1ª Palestra
(14:30 – 15:30): O papel da Escola de Belas Artes no período 1930-1964. Prof. Cirio Simon<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7gBs7Jl0mW9Ruc-rpbmR-CITqR1kjhdCcHe8piS8s4TZhYi5NkcWTRDPUCNrCrAEBsQ9ugMQGQx5YpPIaqV-kyqkNabWWVqS-grhEWVvNHYwk0YHAiDHzhqYPH0Lz1jW6W0_bd69XtMq4/s1600/01+-+LOGO+IBA-RS.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="763" data-original-width="771" height="395" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7gBs7Jl0mW9Ruc-rpbmR-CITqR1kjhdCcHe8piS8s4TZhYi5NkcWTRDPUCNrCrAEBsQ9ugMQGQx5YpPIaqV-kyqkNabWWVqS-grhEWVvNHYwk0YHAiDHzhqYPH0Lz1jW6W0_bd69XtMq4/s400/01+-+LOGO+IBA-RS.jpg" width="400" /></a></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif; font-size: 14.0pt;">Fig. 01 <b>LOGO do INSTITUTO de BELAS ARTES do RIO
GRANDE do SUL em 1958 </b>Este logo foi
usado nos eventos do cinquentenário do IBA-RS que ocorreu no dia 22 de abril de
1958<o:p></o:p></span></div>
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<b><span style="color: #0070c0; font-family: "arial" , sans-serif; font-size: 11.0pt;">00–</span></b><b><span style="font-family: "arial" , sans-serif; font-size: 11.0pt;"> </span></b><b><span style="font-family: "arial black" , sans-serif; mso-bidi-font-family: Arial; mso-bidi-font-size: 16.0pt; mso-fareast-language: PT-BR;">Diferenças e semelhanças entre a ESCOLA de ARTES e CURSO de ARTES PLÁSTICAS do IBA- RS</span></b><b><span style="font-family: "arial" , sans-serif; font-size: 11.0pt;">-<o:p></o:p></span></b></div>
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<span style="color: #0070c0;">01–</span></span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> </span></b><span style="font-family: "arial black" , sans-serif; font-size: 18.0pt;">Natureza do
Instituto de Artes</span><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;">.<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial" , sans-serif; font-size: 11.0pt;"> </span></b><b><span style="color: #0070c0; font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">01.1.–</span></b><b><span style="font-family: "arial narrow" , sans-serif; font-size: 16.0pt;"> </span></b><b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"> Estrutura complexa para tempo indeterminado . </span></b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">- </span><b><span style="color: #0070c0; font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">01.2–</span></b><b><span style="font-family: "arial narrow" , sans-serif; font-size: 16.0pt;">
</span></b><b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">Propostas e respostas conforme o ligar, tempo e sociedade </span></b><b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">.</span></b><b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">
</span></b><b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"> <span style="color: #0070c0;">01.3 –</span> </span></b><b><span style="font-family: "arial narrow" , sans-serif; mso-bidi-font-family: Arial; mso-fareast-language: PT-BR;">MUDANÇAS entre o ANTIGO
e o NOVO IBA-RS</span></b><b><span style="font-family: "arial" , sans-serif; mso-fareast-language: PT-BR;">.<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial" , sans-serif; font-size: 11.0pt;"> </span></b><b><span style="color: #0070c0; font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">01.4 –</span></b><b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"> </span></b><b><span style="font-family: "arial narrow" , sans-serif; mso-bidi-font-family: Arial; mso-fareast-language: PT-BR;">As contribuições para arte e a cultura do Rio
Grande do Sul e Brasil dentro do seu
projeto</span></b><b><span style="font-family: "arial" , sans-serif; mso-fareast-language: PT-BR;"><o:p></o:p></span></b></div>
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<b><span style="color: #0070c0; font-family: "arial" , sans-serif; font-size: 11.0pt;">02 –</span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> </span></b><span style="font-family: "arial black" , sans-serif; font-size: 18.0pt;">Distinções</span><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"><o:p></o:p></span></b></div>
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<b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> </span></b><b><span style="color: #0070c0; font-family: "arial narrow" , sans-serif; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.0pt; mso-fareast-language: PT-BR;">02.1 –</span></b><b><span style="font-family: "arial narrow" , sans-serif; mso-bidi-font-family: "Arial Black"; mso-bidi-font-size: 14.0pt;"> </span></b><span style="font-family: "arial narrow" , sans-serif;"><b>Concepções da VELHA
REPUBLICA e APÓS a REVOLUÇÃO de </b></span><span style="font-family: "arial narrow" , sans-serif; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.0pt;"> </span><b><span style="color: #0070c0; font-family: "arial narrow" , sans-serif; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.0pt; mso-fareast-language: PT-BR;">02.2 –</span></b><b><span style="font-family: "arial narrow" , sans-serif; mso-bidi-font-family: "Arial Black"; mso-bidi-font-size: 14.0pt;"> </span></b><span style="font-family: "arial narrow" , sans-serif;"><b> 1930
ESCOLA de DESENHO diferente de CURSO de ARTES PLÁSTICAS .</b></span><span style="font-family: "arial narrow" , sans-serif; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.0pt;"> </span><b><span style="color: #0070c0; font-family: "arial narrow" , sans-serif; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.0pt; mso-fareast-language: PT-BR;">02.3 –</span></b><b><span style="font-family: "arial narrow" , sans-serif; mso-bidi-font-family: "Arial Black"; mso-bidi-font-size: 14.0pt;"> CURSOS ISOLADOS e CURSOS numa UNIVERSIDADE</span></b><b><span style="font-family: "arial" , sans-serif; font-size: 11.0pt;"><o:p></o:p></span></b></div>
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<b><span style="color: #0070c0; font-family: "arial" , sans-serif; font-size: 11.0pt;">03 –</span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;">
</span></b><span style="font-family: "arial black" , sans-serif; font-size: 18.0pt;"> Convergências e continuidades</span><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;">.<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> </span></b><b><span style="color: #0070c0; font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">03.1 – </span></b><b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"> </span></b><span style="font-family: "arial narrow" , sans-serif;"><span style="font-size: 11pt;"><b>HOUVE
CONTINUIDADE entre ESCOLA do INSTITUTO e
o CURSO SUPERIOR </b></span><span style="font-size: 14.6667px;"><b>UNIVERSITÁRIO</b></span><span style="font-size: 11pt;"><b> </b></span></span><b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"> </span></b><b><span style="color: #0070c0; font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">03.2 –</span></b><b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"> . </span></b><span style="font-family: "arial narrow" , sans-serif;"><b>O FOCO COMPETÊNCIA e LIMITES
continuaram sendo RIO GRANDE do SUL</b></span><b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"> </span></b><b><span style="color: #0070c0; font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">03.3 –</span></b><b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"> </span></b><span style="font-family: "arial narrow" , sans-serif;"><b>Ambos cumpriram o papel de formar no RIO GRANDE do SUL AGENTES QUALIFICADOS para a suas SOCIEDADE, LUGAR e TEMPO</b></span><b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"> <o:p></o:p></span></b></div>
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<b><span style="font-family: "arial black" , sans-serif; line-height: 150%;">CONCLUSÕES</span></b><span style="font-family: "verdana" , sans-serif; font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKlljLZb2sKJ6pdLPnjrYXsKEhl-JZTBZPjqbEiXfE8x9oW36i6cmBwGOnleePecxyh_EWzi_GDIv3bZgEBoMSCFW85NrY-BPdDgnGk1UM0sniku3nd0LNnngGxRa0oFPmPHKbJuFHFzVO/s1600/02+-+-+DIACRONIA+e+SINCRONIA+da+TESE+ORIGENS+do+INSTITUTO+de+ARTES+da+UFRGS.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1254" data-original-width="1422" height="352" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKlljLZb2sKJ6pdLPnjrYXsKEhl-JZTBZPjqbEiXfE8x9oW36i6cmBwGOnleePecxyh_EWzi_GDIv3bZgEBoMSCFW85NrY-BPdDgnGk1UM0sniku3nd0LNnngGxRa0oFPmPHKbJuFHFzVO/s400/02+-+-+DIACRONIA+e+SINCRONIA+da+TESE+ORIGENS+do+INSTITUTO+de+ARTES+da+UFRGS.jpg" width="400" /></a></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif; font-size: 14.0pt;">Fig. 02 <b>O Instituto de BELAS ARTES do Rio Grande o
Sul sempre foi, e continua sendo, a MANTENEDORA dos diversos
cursos. Atualmente (2020) este INSTITUTO de ARTES está Integrado na UFRGS e
mantem TRÊS DEPARTAMENTOS (Música. Ares Visuais e Arte Dramática). </b>Nunca
houve solução de continuidade no aspecto legal entre Escola de Artes e Curso de
Artes Plásticas apesar deste último obedecer aos paradigmas da Universidade
Brasileira no s termos do Decreto nº 19.851 de 11,04, 1931 </span><b><span style="color: #0070c0; font-family: "arial" , sans-serif; font-size: 18.0pt;"><o:p></o:p></span></b></div>
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<span style="font-family: "arial" , sans-serif; font-size: 14pt;"><span style="color: #274e13;"><i>[clique sobre o gráfico para poder ler]</i></span></span></div>
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<b><span style="color: #0070c0; font-family: "arial black" , sans-serif; font-size: 16.0pt;">00–</span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> </span></b><b><span style="font-family: "arial" , sans-serif; font-size: 11.0pt;"> </span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;">Diferenças e semelhanças
entre a ESCOLA de ARTES e o CURSO de
ARTES PLÁSTICAS do IBA- RS.<o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">“O <i>ESTUDANTE NÃO FAZ ARTE</i>” na concepção de Ado MALAGOLI. Na medida em
que o estudante se submete aos seus mestres ele se encontra na sua heteronomia
e ainda não atingiu a autonomia para deliberar e decidir em relação à sua
própria obra. Este olhar rigoroso para o interior de uma ESCOLA de ARTES faz
parte do cultivo do '<b><i><span style="color: #134f5c;">HÁBITO da INTEGRIDADE INTELECTU</span>AL</i></b>' na concepção que MAX WEBER<a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 14pt;">[1]</span></span><!--[endif]--></span></a>
a única e principal coisa que uma universidade pode propiciar ai seu estudante.
Ninguém duvida como esta integridade INTELECTUAL e ESTÉTICA pode se corrompida,
especialmente em ARTES. Basta instalar e propagar o senso comum e aquilo que já
foi digerido (KITSCH) para esterilizar qualquer ARTE.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Outro mestre
recomendava: ”<i>NÃO TENHA PROFESSORES,
TENHA <u>UM</u> PROFESSOR</i>”. Nesta concepção o estudante toma um rumo
determinado ou uma LINHA DE PESQUISA provisória enquanto verifica e mede as
suas próprias condições para fazer germinar a sua ORIGINALIDADE, afirmar o seu
caminho e a sua AUTONOMIA. Quanto mais cedo encontrar e se dedicar a esta
LINHA, mais caminho fará e mais resultados terá. Experimenta consegue ou não o
que ele de fato pretende no vasto e imprevisível campo das forças da arte. Sem rumo
neste mundo multifacetado, qualquer onda, mais forte, faz naufragar todos seus projetos
quando está carente deste orientador experimentado. Sem ele, o estudante de
artes, corre o perigo de exaurir as suas potencialidades. Sem este orientador experimentado,
o estudante de artes, está sem bússola e
sem um leme forte está entregue à “tentação do múltiplo” neste CAMPO de FORÇAS
MÚLTIPLAS e CONTRADITÓRIAS da ARTE.<o:p></o:p></span></div>
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<a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[1]</span></span><!--[endif]--></span></a> <b>WEBER</b>,
Max.<b> Sobre a universidade</b>. São Paulo
: Cortez, 1989. 152 p.<o:p></o:p></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif; font-size: 14.0pt;">Fig. 03 - <b>A ESCOLA de ARTES do INSTITUTO de BELAS
ARTES do RIO GRANDE do SUL teve diversos LOGOS
</b>O logo desta imagem consta no
cabeçalho de uma premiação escolar do estudante Francisco BELLANCA. O desenho e
as letras, supõe-se que sejam de Libindo Ferrás que desempenhou o papel de
diretor, professor único da Escola e provedor do prédio do IBA-RS</span><b><span style="color: #0070c0; font-family: "arial black" , sans-serif; font-size: 16.0pt;"><o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt;"> A</span><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;">
ESCOLA de ARTES do IBA-RS</span></b><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt;"> </span><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;">possui
semelhanças e diferenças com o CURSO de ARTES PLÁSTICAS que a sucedeu.<o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">As diferenças são
formais, jurídicas, sociais e de tempo.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">A administração da
ESCOLA de ARTES era realizada por um diretor designado e de confiança do
Presidente da Comissão Central do Instituto de Belas Artes do RS (IBA-RS). <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGEO6mg_P9EehTDz-DhFBA2dyn6nfri-gzeFk6CNnbXfF5yKyei5o8L_j6xtoWUO-DgseG0xmsgY0I-m19SoyVrnCiC24E59uNJgTV2510m6ktYSpT65d7wKURvHT3djNgB83pmsKlHrSU/s1600/04+-+Congrega%25C3%25A7%25C3%25A3o+IBA-RS+-inDi%25C3%25A1rio+de+Noticias+06.01.1939..jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="571" data-original-width="1393" height="163" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGEO6mg_P9EehTDz-DhFBA2dyn6nfri-gzeFk6CNnbXfF5yKyei5o8L_j6xtoWUO-DgseG0xmsgY0I-m19SoyVrnCiC24E59uNJgTV2510m6ktYSpT65d7wKURvHT3djNgB83pmsKlHrSU/s400/04+-+Congrega%25C3%25A7%25C3%25A3o+IBA-RS+-inDi%25C3%25A1rio+de+Noticias+06.01.1939..jpg" width="400" /></a></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 8.0pt;">Diário de Notícias Porto Alegre dia
06.01.1939<o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 04 - </span><b style="color: #c00000; font-family: Arial, sans-serif;">A </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>CONGREGAÇÃO</b></span><b style="color: #c00000; font-family: Arial, sans-serif;"> do IBA-RS reunida no dia 06 de janeiro de 1938 para assumir
oficialmente os destinos do IBA-RS, desanexado da Universidade de Porto Alegre
e sem a </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>COMISSÃO</b></span><b style="color: #c00000; font-family: Arial, sans-serif;"> CENTRAL que entregara neste dia os destinos e patrimônio da
instituição </b><span style="color: #c00000; font-family: "arial" , sans-serif;">Tasso CORRÊA, ao centro da foto assumiu a direção tanto do INSTITUTO
ali incorporando a direção dos Cursos de Música e Artes Plásticas. Estes cursos
constituíram as suas respectivas COMISSÕES TÉCNICAS ADMINISTRATIVAS (CTA)
previstas pelo Decreto Lei 19.851 de 11. 04.1931 </span><b><span style="color: #0070c0; font-family: "arial" , sans-serif; mso-fareast-language: PT-BR;"><o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">O Curso de ARTES
PLÁSTICAS era administrado pelo diretor do IBA-RS auxiliado pelo Conselho
Técnico Administrativo (CTA) sob a alta supervisão da Congregação de
Professores do IBA-RS. A Comissão Central era formada por pessoas leigas em
Arte, A Congregação era formada exclusivamente de artistas professores. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Quanto ao TEMPO do
estudante da ESCOLA de ARTES era aquele que ele NÃO dedicava à sua formação em
OUTROS CURSOS que lhe poderiam garantir um emprego ou uma profissão considerada
séria e segura e consagrada pela sociedade<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">O CURSO SUPERIOR de
ARTES PLÁSTICAS exigia tempo integral. Este, além da formação artística,
poderia garantir-lhe um emprego em carreira burocrática superior, como do
magistério, além da opção pela profissão de artista.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt;"> No entanto, para o magistério, havia exigência da frequência de uma LICENCIATURA especializada em ARTES.</span></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 05 - <b>O LOGO
do IBA-RS, em 1915, evidencia a mantenedora e os seus dois cursos de ARTES e de MÚSICA </b>Logo
aberto que ensejou a concepção de uma semente de uma UNIVERSIDADE de ARTES. O
fato é que as ARTES possuem a potencialidade de um grande capo de saberes que
confluem ou derivam da criatividade, da sensibilidade e inteligência humana<o:p></o:p></span></div>
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</span></b><b><span style="color: #0070c0; font-family: "arial black" , sans-serif; font-size: 18.0pt;">01–</span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 18.0pt;"> </span></b><span style="font-family: "arial black" , sans-serif; font-size: 18.0pt;">NATUREZA do
INSTITUTO de ARTES</span><b><span style="font-family: "arial black" , sans-serif; font-size: 18.0pt;">.<o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; line-height: 150%;"><span style="font-size: 14pt;">O INSTITUTO de ARTES
sempre esteve voltado especificamente para as ARTES NOBRES</span><a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: x-small;">[1]</span></span><!--[endif]--></span></a><span style="font-size: 14pt;">,
em alto nível. Neste alto nível sempre buscou trazer para o Estado do Rio
Grande do Sul a formação completa de agentes competentes para manter este
objetivo por tempo indeterminado<o:p></o:p></span></span></div>
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<span style="font-family: "verdana" , sans-serif; line-height: 150%;"><span style="font-size: 14pt;">Esta formação, em alto
nível, continua num crescendo por meio de sucessivas exigências. Esta
qualificação iniciou com os rudimentos institucionais passou para CURSOS QUALIFICADOS
de GRADUAÇÃO</span><a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: x-small;">[2]</span></span><!--[endif]--></span></a><span style="font-size: 14pt;">
e, mais recentemente, se expressa em três programas de Pós-Graduação
Stricto-sensu.<o:p></o:p></span></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">De outra parte o IBA-RS
sempre evitou e contornou cursos xifópagos. Assim manteve a autonomia do CAMPOS
das ARTES, com a sua direção confiada integralmente a agentes do campo das
ARTES e não de LETRAS, de COMUNICAÇÃO ou de FILOSOFIA. Esta autonomia
custou-lhe caro e ensejou trabalhos e riscos pouco comuns para outras unidades
universitárias, especialmente em cursos xifópagos. Custou-lhe seis exclusões de
uma universidade local. Retornou para a universidade que havia ajudado a
fundar, não pela mão desta universidade, mas diretamente conseguido com o aval
do governo central e com um orçamento aprovado pelo Congresso Nacional.<o:p></o:p></span></div>
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<a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[1]</span></span><!--[endif]--></span></a> CARTA de LE BRETON ao CONDE da BARCA<o:p></o:p></div>
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<a href="http://profciriosimon.blogspot.com.br/2016/02/151-logistica-em-estudos-de-arte.html"><span style="color: blue;">http://profciriosimon.blogspot.com.br/2016/02/151-logistica-em-estudos-de-arte.html</span></a><o:p></o:p></div>
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<a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[2]</span></span><!--[endif]--></span></a> Os cursos superiores de Música a Artes plásticas foram
reconhecidos. no âmbito nacional pele Decr. Federal nº 7.197 <b>20.
05. 1941</b> “reconhece os cursos de Música e Artes Plásticas do Instituto de
Belas Artes do Rio Grande do Sul” (D.O.
de 07.10.1941)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwS3ZyybJZXMnggGXZhM_aIhyphenhyphenlxWWfmuftcUVtoyBAJz0fcyymWsLYFOQ0P-NVUrljUDsR1P7knvvxiiRhALgD9kc-jJ77x_wycf6Q473Vi5X5aTteyF_R68UkJsFqsVeRPowjqArn4SJ7/s1600/06+-+Audit%25C3%25B3rio+Tasso+Corr%25C3%25AAa+nos+95+anos+do+IA+em+22+de+abril+de+2003.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="733" data-original-width="983" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwS3ZyybJZXMnggGXZhM_aIhyphenhyphenlxWWfmuftcUVtoyBAJz0fcyymWsLYFOQ0P-NVUrljUDsR1P7knvvxiiRhALgD9kc-jJ77x_wycf6Q473Vi5X5aTteyF_R68UkJsFqsVeRPowjqArn4SJ7/s400/06+-+Audit%25C3%25B3rio+Tasso+Corr%25C3%25AAa+nos+95+anos+do+IA+em+22+de+abril+de+2003.jpg" width="400" /></a></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">CENA Auditório Tasso Corrêa nos 95 anos do IA
em 22 de abril de 2003<o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 06 - <b>Apesar
da constante busca de tidas as manifestações artísticas buscar a sua identidade
e autonomia esta busca constitui um estímulo reciproco para nenhuma delas ficar
para traz. </b>O Instituto, como mantenedorra,
não possui alunos. Quem os tem e is atendem são os atuais departamentos com os
seus respectivos programas de pós-graduação</span><b><span style="color: #0070c0; font-family: "arial" , sans-serif; mso-fareast-language: PT-BR;"><o:p></o:p></span></b></div>
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<b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> <span style="color: #0070c0;">01.1.–</span></span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> </span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> Estrutura complexa para tempo indeterminado. <o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; line-height: 150%;"><span style="font-size: 14pt;">A prerrogativas dos
artistas - como dirigentes do IBA-RS - foi arduamente defendida, no dia
24.10.1934. por Tasso CORREA</span><span style="font-size: x-small;"><a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[1]</span><!--[endif]--></span></a>
</span></span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">no Theatro São Pedro, quando afirmou entre outra considerações: <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"><span style="color: #134f5c;">“<i>o instituto, sendo uma
organização destinada à difusão do
ensino artístico no Rio Grande do Sul, é orientado por cavalheiros de alta distinção,
mas que infelizmente, na sua grande maioria, nada entende de Arte. Para
demonstrar o absurdo da nossa organização administrativa lembraria o seguinte:
uma Faculdade de Medicina, dirigida por uma comissão de músicos, pintores e
escultores.. Esta situação deveria ser idêntica à do Instituto de Belas A</i>rtes</span>,,”<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Esta defesa valeu, para
Tasso CORRÊA, a expulsão do IBA-RS no mesmo dia do seu discurso público no
Theatro São Pedro. Esta expulsão foi revertida com a atuação, imediata e firme,
do Centro Acadêmico do IBA-RS. Em 1936 ele foi designado pela UPA como diretor
geral o IBA-RS. Após a exclusão do IBA-RS da UPA, no dia 05.01.1939, a Comissão
Central entregou o patrimônio e os destinos do IGA-RS à Congregação cujo
presidente era Tasso CORREA. Este realizou uma administração interrupta ao
longo 22 anos. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Além da afirmação do
ideal da autonomia do campo especifico das forças da Arte, havia a necessidade
das condições da administração do mundo real e das circunstâncias matérias para
que esta autonomia possa se manifestar na prática do dia a dia. <o:p></o:p></span></div>
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<a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[1]</span></span><!--[endif]--></span></a> Discurso
de Tasso CORRÊA no Theatro São PEDRO – Diário de Notícias- Porto Alegre,
Diários Associados, dia 26.10. 1934 p. 04<o:p></o:p></div>
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<a href="http://profciriosimon.blogspot.com/2016/04/165-o-pensamento-de-tasso-correa.html">http://profciriosimon.blogspot.com/2016/04/165-o-pensamento-de-tasso-correa.html</a><o:p></o:p></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">MISS BRASIL 1957 no gabinete de Tasso Corrêa<o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 8.0pt;">Sentados</span></b><span style="font-family: "arial narrow" , sans-serif; font-size: 8.0pt;"> [da esquerda para a direita]: Amelita, (filha de Luís Maristany Trias),
Alice Brueggmann, Alice Soares, Tasso Corrêa, <b><u>Miss Maria José Cardoso</u></b>, jornalista Lygia Nunes (esposa de
Maximiliano Fayet) <b>De pé</b> [na mesmo ordem]: Aldo Locatelli, João Fahrion Luis Carlos
Rothmann, Ernani Dias Corrêa, Evânio, Carlos
Mancuso, Luis Fernando Corona, Nelson Boeira Feadrich, Ado
Malagoli, e Maximiliano Fayet<o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 07 - <b>Maria
José CARDOSO, estudante do CURSO SUPERIOR da ARTES PLÁSTICAS do IBA-RS, foi a
vencedora do concurso MISS BRASIL 1957 . </b>Este fato gerou um aumento significativo
de atenção sobreo CURSO e o INSTITUTO, atraindo um número expressivo de
candidatos. </span><b><span style="color: #c00000; font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"><o:p></o:p></span></b></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> </span><b><span style="color: #0070c0; font-family: "arial black" , sans-serif; font-size: 16.0pt;">01.2–</span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> </span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;">Propostas
e respostas conforme o lugar, tempo e sociedade</span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;">.<o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">O ambicioso projeto do
INSTITUTO de BELAS ARTES para todo o RIO GRANDE do SUL foi expresso e amparado pelas
64 COMISSÕES REGIONAIS com sede nos municípios mais populosos do estado. Estes
municípios tiveram de tomar a iniciativa de criar e manter Conservatórios de
Música e Escolas de Arte apesar deste projeto 64 COMISSÕES REGIONAIS e de
alguma movimentação local.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">No contraditório foram
os docentes e os formandos do IBA-RS que tomaram esta iniciativa nos
municípios.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Isto fazia sentido
devido à larga diversidade estética e cultural vivida em cada célula municipal
do Rio Grande do Sul. A dependência das células municipais com tradições,
histórias e políticas distintas um dos outros e especial da capital de Estado,
iria contra a AUTONOMIA necessária para as ARTES. O pior estrago possível, para
a ARTE e a CULTURA do Rio Grande do Sul, é o centralismo, a hegemonia e o TIPO
ÚNICO ao modelo da estética nazista. Assim, ao percorrer o Rio Grande do Sul,
no século XXI, é possível encontrar os mais variados e ricos experimentos
estéticos nas ARTES VISUAS NOBRES e SUPERIORES graças ao que muitas células
municipais conseguiram colocar no mundo prático<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; line-height: 150%;"><span style="font-size: 14pt;">No amplo paradigma, da Universidade
Brasileira, bastava uma atenção e implementação de normas gerais e flexíveis
prognosticadas pelo Decreto Federal nº 19.851, de 11.04.1931</span><a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: x-small;">[1]</span></span><!--[endif]--></span></a><span style="font-size: 14pt;">,
para a validade dos seus diplomas em todo território nacional. Foi a caso da
UNIVERSIDADE de Porto ALEGRE, seguidas por Pelotas, Santa Maria e de tantas
outras universidades com sede em municípios, mas com vasta abrangência regional
e validade nacional.<o:p></o:p></span></span></div>
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<b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> <span style="color: #0070c0;">01.3 –</span> MUDANÇAS entre o ANTIGO e o NOVO IBA-RS.<o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">De forma geral pode-se
afirmar que na REPÚBLICA VELHA os Estados eram SOBERANOS, com CONSTITUIÇÃO e o
executivo ocupando as funções e cargo PRESIDENCIAL. As organizações estavam mais
voltadas para o comércio, entretenimento e o lazer, distantes da política da
ideologia e sem o voto feminino.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Este paradigma foi
questionado após 1930. O ESTADO NACIONAL concentrou em suas mãos um paradigma
único e central de UNIVERSIDADE. Este mesmo ESTADO NACIONAL expressou a sua
NATUREZA UNITÁRIA e CENTRAL na política conhecida como ESTADO NOVO (1937-1945)
.Este queimou as bandeiras estaduais, aboliu as sus constituições e nomeou
interventores.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Estes dois paradigmas
estão bem visíveis no IBA-RS. Ao longo da REPÚBLICA VELHA o seu regime era
presidencial e centralista. Os docentes, os programas, avaliações encontrava-se
no arbítrio das direções centrais e distantes e estranhas às organizações
estudantis e docentes. A Escola Nacional de Belas Artes (ENBA) era vista como
uma das opções possíveis.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Após o Decreto nº 1981
de 11 de abril de 1931 o paradigma UNIVERSITÁRIO é visto como um horizonte e
que vai sendo concretizado passo a passo, A Escola Nacional de Belas Artes (<u>ENBA)</u>
vai na direção da Universidade do Rio de Janeiro até se transformar na Escola
de Belas Artes da Universidade do Rio de Janeiro (EBA-URJ). O seu currículo
tornar-se modelar e dominante. As organizações estudantis ganha corpo e começar
a convergir para a União Nacional do Estudantes (UNE). Após isto as <b><u>atualizações da inteligência artística</u>
</b>vão se acelerando, enquanto a <b><u>pesquisa
estética</u></b> está cada vez mais dominada pela heteronomia de culturas
hegemônicas centralistas. São raros aqueles a que se dão conta desta distinção
e muito menos aqueles que conseguem escapar destes rebanhos de consumidores
passivos destas informações disseminadas pela industrial cultural tardia e
dependente.<o:p></o:p></span></div>
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<a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif; font-size: 8.0pt;">[1]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt;"> Decreto nº 19851 de 11.04.1931 cria a Universidade
Brasileira<o:p></o:p></span></div>
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<span style="font-size: 8.0pt;"> <a href="http://www.planalto.gov.br/ccivil_03/decreto/1930-1949/D19851.htm"><span lang="DE" style="color: blue; mso-ansi-language: DE;">http://www.planalto.gov.br/ccivil_03/decreto/1930-1949/D19851.htm</span></a></span><o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht-xzrqsbxwsTsQdeCTwmECh1gR56gzn2JqqySFADtCkk2jRW85c4im9xcQmkuJKq0B-9Qno-AU0mXmEAmtlktQa9wUhaC9xVFY3QS6JDGE9a9SYGfFvQWMC5VtYiCIyaMKqs37pmDFKHd/s1600/08+-+Altar+c%25C3%25ADvico+em+1943.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="521" data-original-width="800" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht-xzrqsbxwsTsQdeCTwmECh1gR56gzn2JqqySFADtCkk2jRW85c4im9xcQmkuJKq0B-9Qno-AU0mXmEAmtlktQa9wUhaC9xVFY3QS6JDGE9a9SYGfFvQWMC5VtYiCIyaMKqs37pmDFKHd/s320/08+-+Altar+c%25C3%25ADvico+em+1943.JPG" width="320" /></a></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">Altar cívico no IBA-RS
no dia 30.08.1943 na ocasião da inauguração do Novo prédio<o:p></o:p></span></b></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 08 - <b>O
IBA-RS nasceu em consequência do REGIME REPUBLICANO e com a mente voltada par o
ESTADO BRASILEIRO</b>, O IBA-RS arregimentou 2.000 LEGIONÀRIOS em plena II
GUERRA MUNDIAL engajados em CONSTRUIR o seu novo PRÉDIO. Um número significativo destes LEGIONÁRIOS era
do Centro do Brasil que também enviaram obras de arte para leilões
beneficentes. Este movimento viu coroado este esforço com a inauguração do novo
PRÉDIO. </span><b><span style="color: #0070c0; font-family: "arial" , sans-serif; mso-fareast-language: PT-BR;"><o:p></o:p></span></b></div>
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<b><span style="color: #0070c0; font-family: "arial black" , sans-serif; font-size: 16.0pt;">01.4 –</span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> As contribuições do IBA-DS para arte e a
cultura do Rio Grande do Sul e Brasil dentro do seu projeto<o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Ainda não se realizou a
pesquisa das contribuições, diretas e indiretas, tanto a ESCOLA de ARTES como do
CURSO SUPERIOR de ARTES PLÁSTICAS para propiciarem a ELEVAÇÃO da CULTURA do RIO
GRANDE do SUL<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Considerando o IBA-RS
como uma mantenedora pode-se argumentar que por meio da criação do
CONSERVATÓRIO de MÚSICA (1908) e da ESCOLA se ARTES (1910) distante do
paradigma de ACADEMIA dos NOTÁVEIS do '<i>Ancien Regim</i>e'. De fato o IBA-RS NÃO foi
apenas uma ACADEMIA com um número limitado de cadeiras destinadas aos NOTÁVEIS
e SEM escola formal alguma. O IBA-RS poderia derivar para uma INSTITUIÇÃO ao modelo
da ACADEMIA BRASILEIRA de LETRAS, para o Rio Grande do Sul.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">O IBA-RS está longe
disto e ao manter CURSOS SUPERIORES de DESENHO e de ARTES PLÁSTICAS. Como agente
qualificado e aberto para o seu LUGAR, seu TEMPO e sua SOCIEDADE criou e
manteve o CURSO TÉCNICO de ARQUITETURA e de ARTES PLÁSTICAS. Organizou e fez
funcionar o CURSO SUPERIOR especifico e completo de ARQUITETURA. O CURSO de
ARQUITETURA da Escola de Engenharia era uma ESPECIALIZAÇÃO dos seus engenheiros,
oferecida com currículo reduzido e nenhum professor artista. Após isto ofereceu o CURSO SUPERIOR especifico
de URBANISMO o primeiro no gênero no Brasil. Ambos foram aprovados pelo</span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> Decreto
Federal Nº 19.991, de 26. 11. 1945, que “<i>autoriza
o funcionamento do Curso de Arquitetura e Urbanismo no Instituto de Belas Artes
do RS</i>”</span><a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;"><span style="font-size: xx-small;">[1]</span></span></span><!--[endif]--></span></a><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Na ausência de outros
agentes o IBA-RS organizou e fez funcionar os SALÕES de BELAS ARTES.</span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> Esta incumbência foi aprovada pelo Decreto
Estadual Nº 561, do dia 23.06.1942,<b> </b>que
“<i>institui o Salão Estadual de Belas Artes</i>”.</span><span style="color: #c00000; font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[1]</span></span><!--[endif]--></span></a> - Decreto Federal n<sup>o</sup>
19.991 de 26.11.1945 publicado no Diário Oficial no dia
28 . 12 . 1945<o:p></o:p></div>
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<a href="http://legis.senado.gov.br/legislacao/ListaTextoIntegral.action?id=1098&norma=2407">http://legis.senado.gov.br/legislacao/ListaTextoIntegral.action?id=1098&norma=2407</a> <span style="font-size: 8pt;"><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhivfOdqpoMC6kR4M1FtFabxiA__iW3lOIaelGQolG_99TY8zgj_-s6sLAHpyckXy99CJGzUfCDuMvm3gB1n7A5vjIAzTgd5BTDRVrlirxCR53W2wRP6rvg8iDW82LjPtIRFNXq47mRVIuT/s1600/09+-+Docentes+e+estudantes.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="460" data-original-width="800" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhivfOdqpoMC6kR4M1FtFabxiA__iW3lOIaelGQolG_99TY8zgj_-s6sLAHpyckXy99CJGzUfCDuMvm3gB1n7A5vjIAzTgd5BTDRVrlirxCR53W2wRP6rvg8iDW82LjPtIRFNXq47mRVIuT/s400/09+-+Docentes+e+estudantes.JPG" width="400" /></a></div>
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<span style="font-family: "arial narrow" , sans-serif;">Professores e estudantes do IBA-RS no 8º
andar diante do mural da Aldo Locatelli- em 1961<o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , sans-serif;">Sentados </span></b><span style="font-family: "arial narrow" , sans-serif;">[ a esquerda para a direita do observador]<b> João Fahrion, Aldo Locatelli, Fernando Corona, Ângelo Guido, Luís
Fernando Corona, Cristina Balbão. De pé Luís Carlos Pinto Maciel </b>[de
gravata]..<b>Aldo Malagoli</b> [braços
cruzados] <b>e Adolfo Stiffel </b>[no
centro ao fundo].<b> <o:p></o:p></b></span></div>
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<span style="font-family: "arial narrow" , sans-serif;">Foto do acervo de Christina Hellfensteler Balbão (1917-2007) fornecido
por ela ao autor desta tese<b>.</b></span></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 09 - </span><b><span style="color: #c00000; font-family: "arial" , sans-serif; font-size: 14.0pt;">A camaradagem
entre estudantes e professores do CURSO de ARTES VISUAIS do IBA-RS era
cultivados no bar do 8º andar e num salão de festas e eventos com uma série de
obras de Arte devidas à iniciativa dos professores, </span></b><span style="color: #c00000; font-family: "arial" , sans-serif;">O </span><span style="color: #c00000; font-family: "arial" , sans-serif;">significativo
aumento estudantil, do CURSO de ARTES PLASTICAS, equilibrou a demanda dos
estudantes do CURSO de MUSICA. No final da década de 1950 o vestibular
específico de ARTES PLÁSTICAS oferecia uma vaga para 10 candidatos inscritos</span><b><span style="color: #c00000; font-family: "arial" , sans-serif; font-size: 14.0pt;">.</span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">No plano das
instituições externas, foi do IBA-RS que
partiram vários professores e formandos para organizar em diversos centros mais
populosos do estado e fora dele os CURSOS SUPERIORES de ARTES PLÁSTICAS e para iniciar
as ESCOLINHAS de ARTE para iniciantes. Foi também do IBA-RS que partiram os
agentes que lançaram as sementes do Museu de Arte do Rio Grande do Sul e, após,
o Museu de Arte Contemporânea.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Perdeu-se a cinta de
Galerias de Arte que foram iniciados e conduzidas por agentes formados no CURSO
SUPERIOR especifico de ARTES PLÁSTICAS do IBA-RS.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Não é possível
visualizar o número de monumentos, murais, de publicações e intervenções
públicas que se devem aos seus formandos<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Em direção plano
nacional brasileiro basta acompanhar a migração de talentos ao centro país nos
rastros do revolucionários e políticos da Revolução de 1930. O próprio fundador
do IBA-RS – Olinto de Oliveira - já havia se mudado, em 1920, para a capital
federal. Olinto foi chamado logo ao novo Ministério da Educação e Saúde Pública
(MESP) e onde permaneceu até 1945. Libindo Ferrás e Giuseppe Gaudenzi
mudaram-se par o Rio de Janeiro e ali continuaram a suas respectivas pesquisas
estéticas, Em 1941 Iberê Camargo e Maria Cousirat de Camargo, fixaram
residência e atelier na capital federal após concluírem os seus respectivos
cursos no IBA-RS.<o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 9.0pt;">A prof.a. D.ra Sandra REY,
diretora do IA. no ambiente da Pinacoteca do Barão de Santo Ângelo<o:p></o:p></span></b></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 10 - <b>A PINACOTECA
já estava prevista antes da fundação<a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="color: #c00000; font-size: 12pt;">[1]</span></b></span><!--[endif]--></span></a>
do IBA-RS. </b>Existia um verba especifica para a aquisição de obras de arte que
eram selecionadas por Libindo FERRÀS é submetido à presidência do Instituto. Na
construção do 2º bloco de prédio, em 1952, esta pinacoteca ganhou espaço nobre no 1º andar
e gradativamente foi se constituindo uma reserva técnica, No conjunto
destas iniciativas é possível afirmar que esta é a primeira pinacoteca pública
no Rio Grande do Sul, Ela recebeu o nome do Barão de Santo Agnelo – Araújo
Porto-alegre - destacado<a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: #c00000; font-size: 12pt;">[2]</span></span><!--[endif]--></span></a>
no dia da fundação do IBA-RS</span><b><span style="color: #0070c0; font-family: "arial" , sans-serif; mso-fareast-language: PT-BR;"><o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Esta abertura do IBA-RS, para seu TEMPO, SOCIEDADE e LUGAR, implica em
MUDANÇAS CONSTANTES. Estas MUDANÇAS necessitam serem competentes para fazer
nascer, frutificar e se reproduzir manifestações vivas de ARTE </span><span style="font-family: "verdana" , sans-serif; font-size: 16.0pt; line-height: 150%;">coerentes c</span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">om
o seu LUGAR, </span><span style="font-family: "verdana" , sans-serif; font-size: 16.0pt; line-height: 150%;">com
a sua SOCIEDADE e os seus NOVOS TEMPOS. <o:p></o:p></span></div>
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<b><span style="color: #0070c0; font-family: "arial black" , sans-serif; font-size: 18.0pt;">02 –</span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 18.0pt;"> </span></b><span style="font-family: "arial black" , sans-serif; font-size: 18.0pt;">DISTINÇÕES.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">No confronto entre o
sonho com a realidade do dia seguinte, é mais do que evidente a distinção entre
o ideal da AUTONOMIA da ARTE com o mundo real e concreto.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt;"><!--[if gte vml 1]><v:shapetype id="_x0000_t75"
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<a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[1]</span></span><!--[endif]--></span></a> <span style="font-family: "arial narrow" , sans-serif;">A F E D E R A Ç Ã O” publicava no 4 de abril de 1908 “IDÉA
LOUVAVEL: INSTITUTO LIVRE DE
BELLAS ARTES” “<i>Nele haverá um grande
salão para concertos, uma sala espaçosa para pequenos concertos-ensaios, um
salão para exposições de quadros, uma sala-galeria dos trabalhos que forem
premiados,</i>”.<b><u> <o:p></o:p></u></b></span></div>
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<a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[2]</span></span><!--[endif]--></span></a> Juvenal Otaviano MÜLLER, vice-presidente do Estado do Rio Grande do
Sul, escreveu nos TÓPICOS do DIA 22 de
abril de 1908 no Correio do Povo em relação ao IBA-RS “<i>obra meritória de sistematizar e enriquecer o patrimônio estético do Rio
Grande, juntamos os nossos aplausos humildes às palmas que por todos os
recantos da terra ilustre de Araújo Porto-alegre</i><span style="font-size: 8.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">Disciplina Fundamentos da Cor- foto Myra
Gonçalves<o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 11 - <b>O DIREITO
PERMANENTE à PESQUISA ESTÉTICA encontrou no IBA-RS tanto na sua ESCOLA de ARTES
como no CURSO SUPERIOR de ARTES PLÁSTICAS estímulos e desafios que se
projetaram muito além dos ateliês e dos bancos escolares. </b>Ainda que o ESTUDANTE NÂO FAÇA ARTE ele,
ao menos, teve tempo e lugar apropriado para sentir, experimentar e ter os
meios técnicos e conceituais para empreender uma CARREIRA SOLO de ARTISTA na
qual era competente para realizar escolhas e experimentos nos quais estivesse
emp lena LIBERDADE e AUTONOMIA </span><b><span style="color: #0070c0; font-family: "arial" , sans-serif; mso-fareast-language: PT-BR;"><o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Já na fundação do IBA-RS, no dia </span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">22
de abril de 1908, Juvenal Otaviano MÜLLER, vice presidente do Estado do Rio
Grande do Sul, fez publicar, nos TÓPICOS do DIA. no Correio do Povo sob o </span><span style="font-family: "verdana" , sans-serif; font-size: 18.6667px; text-indent: 94.5333px;">pseudônimo</span><span style="font-family: "verdana" , sans-serif; font-size: 14pt; line-height: 150%; text-indent: 70.9pt;"> </span><span style="font-family: "verdana" , sans-serif; font-size: 18.6667px; text-indent: 94.5333px;"> </span><span style="font-family: "verdana" , sans-serif; font-size: 18.6667px; text-indent: 94.5333px;">de</span><span style="font-family: "verdana" , sans-serif; font-size: 14pt; line-height: 150%; text-indent: 70.9pt;"> </span><span style="font-family: "verdana" , sans-serif; font-size: 18.6667px; text-indent: 94.5333px;">Topsius</span><sup style="font-family: Verdana, sans-serif; text-indent: 94.5333px;"><sup><a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftn1" name="_ftnref1" style="text-indent: 94.5333px;" title=""><span style="font-size: x-small;">[1]</span></a></sup></sup><span style="font-family: "verdana" , sans-serif; font-size: 14pt; text-indent: 70.9pt;">:</span></div>
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<span style="line-height: 150%; mso-bidi-font-size: 10.0pt; mso-fareast-language: PT-BR;"> “</span><i><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"><span style="color: #134f5c;">Resultado logico do evoluir da civilização rio-grandense,
o Instituto pairava latente na ordem natural das coisas, só a espera que o fiat
criador trovejasse do alto, para que ele surgisse de baixo, aparelhado para os
seus lúcidos destinos”</span>.<o:p></o:p></span></i></div>
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<span style="font-family: "verdana" , sans-serif; line-height: 150%;"><span style="font-size: 14pt;">Este “</span><i style="font-size: 14pt;"><span style="color: #134f5c;">pairar latente na ordem natural das coisas</span></i><span style="font-size: 14pt;">”,
na concepção de Carlo ARGAN</span><a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: x-small;">[2]</span></span><!--[endif]--></span></a><span style="font-size: 14pt;">,
é o PROJETO, o que torna histórico o ser humano. Le </span></span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> CO</span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">RBUSIER </span><span lang="ES-TRAD" style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">argumenta</span><span lang="ES-TRAD" style="font-family: "verdana" , sans-serif; mso-ansi-language: ES-TRAD; mso-bidi-font-family: Arial;"> (n Boesiger, 1970, p.168)</span><a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftn3" name="_ftnref3" title=""><span class="FootnoteCharacters"><span lang="ES-TRAD" style="font-family: "verdana" , sans-serif; mso-ansi-language: ES-TRAD;"><!--[if !supportFootnotes]--><span class="FootnoteCharacters"><span lang="ES-TRAD" style="font-size: 12pt;">[3]</span></span><!--[endif]--></span></span></a><span lang="ES-TRAD" style="font-family: "arial" , sans-serif; font-size: 9.0pt; line-height: 150%;"> </span><span lang="ES-TRAD" style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">que</span><span lang="ES-TRAD" style="font-family: "arial" , sans-serif; font-size: 9.0pt; line-height: 150%;"> </span><b><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">“</span></b><b><i><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"><span style="color: #134f5c;">nada é transmissível a não ser o pensamento</span></span></i></b><b><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">”</span></b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt; line-height: 150%;"> </span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">. No IBA-RS é possível
rastrear este PENSAMENTO em diversos pontos da diacronia cuja leitura desvela a
TELEOLOGIA IMANENTE no TEMPO institucional.</span><span lang="ES-TRAD" style="font-family: "arial" , sans-serif; font-size: 9.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">A experimentação, a
tentativa, o erro e a sua correção geram um continuo histórico que deixa pelo
caminho índices, documentos, testemunhos e realizações materiais<o:p></o:p></span></div>
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<a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[1]</span></span><!--[endif]--></span></a> TOPSIUS - Juvenal Octaviano Miller<span class="apple-converted-space"> </span>(*<a href="http://pt.wikipedia.org/wiki/Rio_Grande" title="Rio Grande"><span style="color: #002bb8;">Rio Grande</span></a>,<span class="apple-converted-space"> </span><a href="http://pt.wikipedia.org/wiki/13_de_outubro" title="13 de outubro"><span style="color: #002bb8;">13 de outubro</span></a><span class="apple-converted-space"> </span>de<span class="apple-converted-space"> </span><a href="http://pt.wikipedia.org/wiki/1866" title="1866"><span style="color: #002bb8;">1866</span></a><span class="apple-converted-space"> + </span><a href="http://pt.wikipedia.org/wiki/Rio_de_Janeiro_(cidade)" title="Rio de Janeiro (cidade)"><span style="color: #002bb8;">Rio de Janeiro</span></a>,<span class="apple-converted-space"> </span><a href="http://pt.wikipedia.org/wiki/9_de_setembro" title="9 de setembro"><span style="color: #002bb8;">9 de setembro</span></a><span class="apple-converted-space"> </span>de<span class="apple-converted-space"> </span><a href="http://pt.wikipedia.org/wiki/1909" title="1909"><span style="color: #002bb8;">1909</span></a>)
foi um<span class="apple-converted-space"> </span><a href="http://pt.wikipedia.org/wiki/Pol%C3%ADtico" title="Político"><span style="color: #002bb8;">político</span></a>,<span class="apple-converted-space"> </span><a href="http://pt.wikipedia.org/wiki/Militar" title="Militar"><span style="color: #002bb8;">militar</span></a><span class="apple-converted-space"> </span>e<span class="apple-converted-space"> </span><a href="http://pt.wikipedia.org/wiki/Escritor" title="Escritor"><span style="color: #002bb8;">escritor</span></a><span class="apple-converted-space"> </span><a href="http://pt.wikipedia.org/wiki/Brasil" title="Brasil"><span style="color: #002bb8;">brasileiro</span></a>. <span class="apple-style-span">Fez seus estudos na Escola Militar de Porto Alegre e na Escola Superior
de Guerra. Na revolta da Esquadra defendeu a Barra, depois marchou com a
divisão Sul para o campo de luta, contra os Federalistas. Fundou a Escola de
Engenharia de Porto Alegre. Em sua vida literária redigiu a “Denúncia”., órgão
republicano da Escola Militar. Colaborou com a Revista Acadêmica da mesma
escola. Escreveu para o Correio do Povo sob o pseudônimo de Dr. Topsius.
Publicou em 1898, uma novela de propósitos positivamente intitulada “Professor”
que teve grande aceitação na época.</span><span class="apple-style-span"><o:p></o:p></span></div>
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<a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[2]</span></span><!--[endif]--></span></a> <b><span lang="FR" style="font-family: "arial" , sans-serif;">ARGAN, </span></b><span lang="FR" style="font-family: "arial" , sans-serif;">Giulio Carlo
(1909-1992)<b>. História da arte como hist</b></span><b><span style="font-family: "arial" , sans-serif;">ória
da cidade. </span></b><span style="font-family: "arial" , sans-serif;"> São Paulo:
Martins Fontes. 1992.</span><o:p></o:p></div>
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<a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftnref3" name="_ftn3" title=""><span class="FootnoteCharacters"><!--[if !supportFootnotes]--><span class="FootnoteCharacters"><span style="font-family: "times new roman" , serif;">[3]</span></span><!--[endif]--></span></a> <span lang="ES-TRAD">BOESIGER, Willy . <b><i> Le Corbusier Les Derniers œuvres </i></b> Zurich : Artemis, œuvres complètes 1970, ,
v.8, 208 </span><span lang="ES-TRAD" style="font-size: 8.0pt; mso-ansi-language: ES-TRAD;">p<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt9AyCYS651SPe4fEa-3pJqOlMuwwLvjacEEhpk2Q5mYtZTkk_PrWltbwZuk4FF5OWrz599UcxiT9hEMwN5RWN-2aGBLzXKqYshPRZYErI25VJcsY1bTZqOrkMRFp7vJASqrKvtSehP6R9/s1600/12++Localiza%25C3%25A7%25C3%25A3o+da+UNIVERSIDADE+da+ARTES+em+1947.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="719" data-original-width="1008" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt9AyCYS651SPe4fEa-3pJqOlMuwwLvjacEEhpk2Q5mYtZTkk_PrWltbwZuk4FF5OWrz599UcxiT9hEMwN5RWN-2aGBLzXKqYshPRZYErI25VJcsY1bTZqOrkMRFp7vJASqrKvtSehP6R9/s320/12++Localiza%25C3%25A7%25C3%25A3o+da+UNIVERSIDADE+da+ARTES+em+1947.jpg" width="320" /></a></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">Localização da UNIVERSIDADE da ARTES em 1947<o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 12 - <b>A complexa
e extensa gama de saberes, práticas e o acumulado de obras de arte no IBA-RS foram
a semente de um PROJETO de UNIVERSIDADE DE ARTES. </b>Est semento ganhou a
forma de um projeto de Firmando CORONA no qual administração, os ateliês e as
salas de aula estivessem num bloco central. Entre a igreja luterana e este
bloco central previa-se um TEATRI ccim
2.700 cadeiras, Na parte superiorr uma PINACITECA e um MUSEU de ARTES </span><b><span style="color: #0070c0; font-family: "arial" , sans-serif; mso-fareast-language: PT-BR;"><o:p></o:p></span></b></div>
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<b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> </span></b><b><span style="color: #0070c0; font-family: "arial black" , sans-serif; font-size: 16.0pt;">02.1 –</span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> </span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;">Concepções
da VELHA REPÚBLICA e aquelas posteriores
à REVOLUÇÃO de1930.<o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Os cursos superiores, da
VELHA REPÚBLICA podiam buscar, onde bem entendessem, os seus paradigmas
institucionais, seus currículos, suas matérias e seus professores. Os
fundadores do IBA-RS escreveram na ‘A Federação’ (04.04.1908)<a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 14pt;">[1]</span></span><!--[endif]--></span></a>
que</span> : <span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<i><span style="font-family: "verdana" , sans-serif;">“</span></i><i><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"><span style="color: #134f5c;">para a Europa, Rio da Prata e todo o
Brasil, onde existem estabelecimentos desta ordem foram pedidos prospectos,
programas, regulamentos, etc., bem como pedidos de preços de materiais
absolutamente necessários ao funcionamento do Instituto, afim de se fazerem os
cálculos todos, sem pessimismo ou optimismo</span>”</span></i><i><span style="font-family: "verdana" , sans-serif;">.</span></i></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Após a criação da
UNIVERSIDADE BRASILEIRA foi estabelecido um padrão comum e uniforme, O CONSELHO
FEDERAL de EDUCAÇÃO controlava todas as instituições superiores do território
nacional a quem eram submetidos os estatutos, currículos e condições matérias
do funcionamento. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt;">O IBA-RS, após a sua
expulsão da Universidade de Porto Alegre, recorreu e se submeteu às
competências e aos limites do Estado nacional brasileiro. Agiu, também, sem
otimismo e pessimismo mesmo nesta mudança institucional. Uma das primeiras
providências foi remeter ao CONSELHO FEDERAL o pedido da aprovação dos seus
CURSOS de MÚSICA e ARTES PLÁSTICAS. Nesta aprovação teve êxito através do </span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt;">Decreto Federal nº
7.197, de 20.05.1941, que “<span style="color: #134f5c;"><i>reconhece os
cursos de Música e Artes Plásticas do Instituto de Belas Artes do Rio Grande do
Su</i>l”</span> </span><span style="font-family: "verdana" , sans-serif; font-size: 11.0pt;">(Diário Oficial de 07.10.1941)</span>
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<a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[1]</span></span><!--[endif]--></span></a> <b><span style="font-family: "arial narrow" , sans-serif;">“ IDÉA
LOUVAVEL INSTITUTO LIVRE DE BELLAS ARTES”.</span></b><span style="font-family: "arial narrow" , sans-serif;"> Porto Alegre: <b> A F
E D E R A Ç Ã O” em 4 de Abril de 1908<span style="font-size: 10pt;"><o:p></o:p></span></b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7AFupndGgCSGbjXIDlbnwscj-t-iiVzGuQGhq4SWJpqO7B3Y-MIzYTu4_sTXc2Z7CshenOY9xk5MBoYokW-OjA-R2llg2zsrattg9Mf76iAWgTibCXz53Du-lGDgTQEQB2akjN5LQeSgK/s1600/13++-+DIPLOMA+do+IBA+da+UPA.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="836" data-original-width="1320" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7AFupndGgCSGbjXIDlbnwscj-t-iiVzGuQGhq4SWJpqO7B3Y-MIzYTu4_sTXc2Z7CshenOY9xk5MBoYokW-OjA-R2llg2zsrattg9Mf76iAWgTibCXz53Du-lGDgTQEQB2akjN5LQeSgK/s400/13++-+DIPLOMA+do+IBA+da+UPA.JPG" width="400" /></a></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 13 - <b>Um
diploma da UNIVERSIDADE de PORTO ALEGRE concedido, no dia 12 de maio de 1938, a
uma estudante (1916- 1921) e formanda no CURSO SUPERIOR da ESCOLA de ARTES do
IBA-RS. </b>Esta competência passou a ser do MEC, a partir de 1931, que passava
autorização de examinar e conceder estes diplomas aos entes universitários que validavam
os estudos e os resultados escolares realizados nas escolas superiores isoladas,
na medida que os seus cursos superiores
fossem reconhecidos pelo Conselho Federal de Educação </span><b><span style="color: #0070c0; font-family: "arial" , sans-serif; mso-fareast-language: PT-BR;"><o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; line-height: 150%;"><span style="font-size: 14pt;">A concessão da aprovação
dos cursos superiores da Velha República era da competência dos
estabelecimentos de ensino e não conferiam diploma. Na Universidade- pós Decreto Federal nº 19.851 de 11 de abril
de 1931, somando com outros decretos</span><a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: x-small;">[1]</span></span><!--[endif]--></span></a><span style="font-size: 14pt;">
- esta concessão, do diploma, era
delegada pelo Governo Federal para um ente universitário com rígido controle
central a quem ela delegava esta competência.<o:p></o:p></span></span></div>
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<b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> </span></b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> </span><b><span style="color: #0070c0; font-family: "arial black" , sans-serif; font-size: 16.0pt;">02.2 –</span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> </span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> ESCOLA de ARTES diferente de CURSO de ARTES
PLÁSTICAS.</span></b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt;">Uma das diferenças básicas
era que na ESCOLA de ARTES o ingresso era permitido ao 14 anos de candidatos
que soubessem ler, escrever e dominavam as quatro operações básicas da
Matemática, além da necessária autorização dos pais, caso fossem menores de
idade. No CURSO SUPERIOR de ARTES PLASTICAS era EXIGIDO o VESTIBULAR especifico</span>
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<a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[1]</span></span><!--[endif]--></span></a> Decretos
Federais legislam sobre a Universidade Brasileira: Reforma Francisco Campos:<o:p></o:p></div>
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Decreto nº 19.850: ‘Cria o Conselho Nacional de
Educação ( 8 artigos )<o:p></o:p></div>
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Decreto <b>Nº 19.851</b><b>11. 04. 1931</b>: <b>‘Dispõe que o ensino no<o:p></o:p></b></div>
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Brasil obedecerá de preferência ao sistema universitário</b>’.
(XIV títulos 116 artigos).<b><o:p></o:p></b></div>
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Decreto Nº 19.852: ‘Dispõe sobre a organização da Universidade do Rio de Janeiro” (328 art.s + exposição . de motivos)<span style="font-size: 8pt;"><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh84pAn_5cevvBs6K886SRQH_2t_w5Sgm0ebfCJib67Dg-PbiEIcXvcq-qhiYEGiIpTIO0qmEZk6lrM0rnXrIYKEKucta_YT7VtQNEH2VM_GOrh_XB3bRr-hlJMTNtnvIvULbbPHRXYak-l/s1600/14++Aula+de+Geometria+na+Escola+de+Artes+do+IBA-RS.++a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="567" data-original-width="795" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh84pAn_5cevvBs6K886SRQH_2t_w5Sgm0ebfCJib67Dg-PbiEIcXvcq-qhiYEGiIpTIO0qmEZk6lrM0rnXrIYKEKucta_YT7VtQNEH2VM_GOrh_XB3bRr-hlJMTNtnvIvULbbPHRXYak-l/s400/14++Aula+de+Geometria+na+Escola+de+Artes+do+IBA-RS.++a.jpg" width="400" /></a></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"> Aula
de Geometria na Escola de Artes do IBA-RS<o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 14 - <b>A tenra
idade dos estudantes do IBA-RS está evidente nesta foto de 1915, de uma turma
da ESCOLA de ARTES. </b>Podiam-se matricular maiores de 14 anos que
comprovassem saber ler, escrever e dominar as quatro operações da Matemática
es. A idade de ingresso aumentou com a exigência do atestado da conclusão do
ginásio e conquistar vaga no acirrado vestibular para o CURSO SUPERIOR de ARTES
PLÀSTICA, ARQUITETURA e URBANISMO </span><b><span style="color: #0070c0; font-family: "arial" , sans-serif; mso-fareast-language: PT-BR;"><o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Outra diferença estava
no currículo. A ESCOLA de ARTES oferecia do básico, elementar, médio até o curso
superior. Enquanto isto o CURSO SUPERIOR
de ARTES PLÁSTICAS não oferecia o básico, o elementar e o médio. As suas
disciplinas supunham conhecimentos e habilidades do estudante comprovadas no
VESTIBULAR especifico.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">A progressão também era
diferente. A ESCOLA de ARTES oferecia periódicas BANCAS EXTERNAS nas quais o
candidato podia pleitear e obter o ingresso e a progressão para o nível que o
qual ele se achava apto. Já no CURSO
SUPERIOR a progressão era linear e contínua em séries anuais.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">A ESCOLA de ARTES NÃO CONFERIA
DIPLOMA. O objetivo final do CURSO SUPERIOR de ARTES PLÁSTICAS era o DIPLOMA
UNIVERSITÁRIO.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Na ESCOLA de ARTES não
havia chamada de presenças. O estudante frequentava as aulas para se preparar para
as BANCAS EXTERNAS, No CURSO SUPERIOR havia chamadas diárias por disciplinas e
exames em bancas com professores designados do propor curso.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 14pt;">A ESCOLA de ARTES preparava
no seu curso superior para o magistério. O CURSO SUPERIOR de ARTES </span><span style="font-size: 18.6667px;">PLÁSTICAS</span><span style="font-size: 14pt;"> delegava para a FACULDADE de EDUCAÇÃO a formação, do professor de DESENHO.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLE_F8rvyz_Er1IT_yfL2S2hKuGqpxpGXEnZcg_z21iRc_9Bxt81ypyPDo2yTuRsD3bpqJvwCY9NAqMcqJdG4g-7KKe2VDaLsZSk2hP52N1FghyntRgnGnNRDLKDLTPciHjTEEboyaqZOb/s1600/15+-+Juri+de+Sal%25C3%25A3o+do+IBA-RS.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="728" data-original-width="975" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLE_F8rvyz_Er1IT_yfL2S2hKuGqpxpGXEnZcg_z21iRc_9Bxt81ypyPDo2yTuRsD3bpqJvwCY9NAqMcqJdG4g-7KKe2VDaLsZSk2hP52N1FghyntRgnGnNRDLKDLTPciHjTEEboyaqZOb/s400/15+-+Juri+de+Sal%25C3%25A3o+do+IBA-RS.jpg" width="400" /></a></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">úri de um Salão do IBA-RS<o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 15 - <b>O
IBA-RS manteve a iniciativa de uma sequência de Salões de Arte tanto internacionais,
nacionais como regionais enquanto era ainda uma Unidade Superior Isolada.
Perdeu esta competência quando ele se tornou uma das unidades de uma Universidade
</b>Esta Universidade fez algumas tentativas nesta direção, mas que não
vingaram e prosperaram <o:p></o:p></span></div>
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<b><span style="color: #0070c0; font-family: "arial black" , sans-serif; font-size: 16.0pt;">02.3 –</span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> O CURSOS ISOLADOS diferentes dos CURSOS numa
UNIVERSIDADE<o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">O</span><b><span style="font-family: "verdana" , sans-serif; font-size: 11.0pt; line-height: 150%;">
</span></b><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">DECRETO
Nº 19.851 de 11 de ABRIL de 1931</span><a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftn1" name="_ftnref1" title=""><sup><span style="font-family: "verdana" , sans-serif; line-height: 150%;"><!--[if !supportFootnotes]--><sup><span style="font-size: x-small;">[1]</span></sup><!--[endif]--></span></sup></a><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> </span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">que criou a UNIVERSIDADE
não BRASIL é claro na sua introdução a afirmar dispunha que </span><b><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> “<i><span style="color: #134f5c;">o
ensino superior no Brasil obedeça</span></i></span></b><span style="color: #134f5c;"><i><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> </span></i><b><i><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">de preferência ao sistema universitário</span></i></b></span><b><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"><span style="color: #134f5c;">”</span><o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Contudo este mesmo
decreto facultava que o ensino superior </span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">ainda</span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> </span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">podia
“<span style="color: #134f5c;"><b><i>ser
ministrado em institutos isolados</i></b>”,</span> contanto que a administração
técnica administrativa fosse semelhante daquela das universidades.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; line-height: 150%;"><span style="font-size: 14pt;"> Era o caso do IBA-RS que se manteve isolado,
de 05 de janeiro de 1939</span><a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: x-small;">[2]</span></span><!--[endif]--></span></a><span style="font-size: 14pt;">,
até o dia 30 de novembro de 1962 com Decreto Federal. nº 4.159</span><a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: x-small;">[3]</span></span><!--[endif]--></span></a><span style="font-size: 14pt;">
pelo qual o Instituto de Belas Artes foi integrado na Universidade Federal do
Rio Grande do SUL.</span></span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<b><span style="color: #0070c0; font-family: "arial black" , sans-serif; font-size: 18.0pt;">03 –</span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 18.0pt;"> </span></b><span style="font-family: "arial black" , sans-serif; font-size: 18.0pt;"> CONVERGÊNCIAS e CONTINUIDADES</span><b><span style="font-family: "arial black" , sans-serif; font-size: 18.0pt;">.<o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Na prática, nem o povo, nem
os docentes e nem os estudantes tomavam conhecimento das razões destas mudanças
e diferenças institucionais. Acostumados a seguir as ordens do PODER CENTRAL,
adaptam-se rapidamente a seguir a marcha do rebanho como aos rituais acadêmicos
diferentes.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Assim passa-se
gradativamente de um paradigma para o outro nos quais são percebidos rituais
diferentes. É o formalismo da ERA INDUSTRIAL que que avança carregando os
instrumentos da obsolescência programada. Com estes instrumentos ela necessita
desqualificar tudo aquilo que a antecede. Esta tentativa é perceptível também
no CURSO SUPERIOR de ARTES PLÁSTICAS que necessitou desqualificar a ESCOLA de
ARTES.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Os objetivos, as
técnicas estéticas e a teleologia imanente nos dois CURSOS se mantiveram constantes.
O CURSO SUPERIOR de ARTES PLASTICAS acelerou, multiplicou as manifestações e a
quantidade das disciplinas, dos docentes e população estudantil. Resta a dúvida
se a quantidade influenciou a qualidade da ARTE e de suas manifestações
externas e internas.<o:p></o:p></span></div>
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<a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[1]</span></span><!--[endif]--></span></a> - SOUZA NEVES, Carlos. <b>Ensino
Superior no Brasil: legislação e jurisprudência federais</b>. Rio de Janeiro :
MEC-INEP. 1951 vol 4 pp. 165-192<o:p></o:p></div>
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<a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[2]</span></span><!--[endif]--></span></a> <b>05. 01. 1939</b>
Decreto Estadual nº 7.672, “desanexa da Universidade de Porto Alegre, o
Instituto de Belas Artes e dá outras providências<o:p></o:p></div>
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<a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[3]</span></span><!--[endif]--></span></a> - Publicado no Diário
Oficial de 04 . 12 . 1962 e assinado por João Goulart, Hermes Lima, Miguel
Calmon e Darcy Ribeiro<span style="font-size: 8pt;"><o:p></o:p></span></div>
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Foto do acervo a família ACHUTTI</div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 16 - A </span><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>realização
do CONCURSO VESTIBULAR nos cursos superiores do Brasil foi uma exigência para
selecionar candidatos do CURSOS SIUPERIORES de DIRETO. O VESTIBULAR era para regular
a proliferação de rábulas e concorrentes desqualificados no exercício da profissão
de advogado. Não era o caso das Artes na qual nunca existiu a figura da PROFISSÃO
REGULAR de ARTISTA, No entanto esta exigência do vestibular veio no bojo da UNIVERSIDADE BRASILEIRA como exigência da concessão do diploma</b></span><b><span style="color: #c00000; font-family: "arial" , sans-serif; font-size: 10.0pt;">, </span></b><span style="color: #c00000; font-family: "arial" , sans-serif;">Porém tornou-se uma
necessidade quando o número de candidatos ultrapassou as possibilidades de
atendê-los adequadamente, De outra parte um CURSO SUPERIOR em ARTES significa
que candidato tenha habilidades, conhecimentos e práticas básicas e
anteriormente adquiridas em CURSOS TÉCNICOS de ARTES e <o:p></o:p></span><span style="color: #c00000; font-family: "arial" , sans-serif;">OFÍCIOS</span></div>
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<b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> </span></b><b><span style="color: #0070c0; font-family: "arial black" , sans-serif; font-size: 16.0pt;">03.1 – </span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> </span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;">HOUVE CONTINUIDADE entre
ESCOLA de ARTES do INSTITUTO e o CURSO
SUPERIOR UNIVERSITÁRIO<o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">A </span><span style="font-family: "verdana" , sans-serif; font-size: 16.0pt; line-height: 150%;">ESCOLA de ARTES do
IBA-RS era conhecida cimo a ESCOLA do DESENHO. </span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Esta característica não só foi mantida no
CURSO UNIVERSITÁRIO, mas ampliada e atualizada.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">No CURSO SUPERIOR de
ARTES PLÁSTICAS supunha-se que as questões técnicas do DESENHO tivessem sido
superadas como na Música supunha-se a perfeita ‘leitura à primeira vista’ de
uma pauta. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKAZHNHy40wxzS-P2WaNDYl7YLBaP00AzBcVp9TN23wVS6ABBkNY1nNohECtJIvkpDdXMWCl6pyg-n3AGhzfjZ4byqQqgmtXmHhEuMLX6T9R2kH53nQNUu_Swf83KGtEfX_gsctKDJmHxF/s1600/17++-+Aula+Malagoli+2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="649" data-original-width="800" height="323" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKAZHNHy40wxzS-P2WaNDYl7YLBaP00AzBcVp9TN23wVS6ABBkNY1nNohECtJIvkpDdXMWCl6pyg-n3AGhzfjZ4byqQqgmtXmHhEuMLX6T9R2kH53nQNUu_Swf83KGtEfX_gsctKDJmHxF/s400/17++-+Aula+Malagoli+2.jpg" width="400" /></a></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 17 - <b>É
visível nesta foto - de uma turma do
CURSO SUPERIOR de ARTES PLÁSTICAS do IBA-RS de 1861- que apresentam uma idade bem superior àquela
idade das turmas da ESCOLA de ARTES ( </b>Fig. 14 –Esta turma resultou da
seleção de um candidato por dez
concorrentes.</span><b><span style="color: #0070c0; font-family: "arial" , sans-serif; mso-fareast-language: PT-BR;"><o:p></o:p></span></b></div>
<br />
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<br /></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Por esta razão a
existência do vestibular para selecionar os mais adiantados nesse domínio
técnico. Os estudantes da ESCOLA de ARTES eram submetidos a progressivas bancas
para que os convidados externos pudessem avaliar e classificar os progressos na
aprendizagem e domínio das questões técnicas gráficas.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">A disciplina escolar de
PINTURA não se consolidou e reproduziu na ESCOLA de ARTES apesar de reiteradas
tentavas neste sentido. Ela só encontrou o seu lugar institucional definitivo
com o CURSO SUPERIOR UNIVERSITÁRIO de ARTES PLÁSTICAS. A disciplina de MODELAGEM
e ESCULTURA encontraram o seu lugar no CURSO da ARTES PLÁSTICAS<o:p></o:p></span></div>
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<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> </span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> </span></b><b><span style="color: #0070c0; font-family: "arial black" , sans-serif; font-size: 16.0pt;">03.2 –</span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> . </span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;">O FOCO da COMPETÊNCIA e dos LIMITES
continuaram sendo o RIO GRANDE do SUL</span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> <o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">O Instituto de Artes viu
confirmar a sua competência e seu limite no âmbito estadual com a sua passagem
para a UNIVERSIDADE do RIO GRANDE do SUL, no dia 30 de novembro de 1962.
Nascido como Instituto Livre de Belas Artes do Rio Grande do Sul, em 22 de
abril de 1908, já havia cumprido estas COMPETÊNCIAS e LIMITES </span><span style="font-family: "verdana" , sans-serif; font-size: 16.0pt; line-height: 150%;">estaduais</span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> no período de 54 anos
no qual esteve na autonomia. Permanecia fiel ao seu LUGAR e na evolução natural
da sua SOCIEDADE num ritmo de um TEMPO próprio e singular das suas realizações
possíveis,<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Novamente surge </span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Juvenal Otaviano
MÜLLER, vice-presidente do Estado do Rio Grande do Sul, que escreveu nos
TÓPICIS do DIA 22 de abril de 1908 no Correio do Povo que:<o:p></o:p></span></div>
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<i><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 115%;">“o Rio Grande do Sul vae ter o seu Instituto de
Belas Artes No dia<span style="color: #134f5c;"> em que se reúne a
assembla geral dos conclamados para ajudar na obra meritória de sistematizar e
enriquecer o patrimônio estético do Rio Grande, juntamos os nossos aplausos
humildes às palmas que por todos os recantos da terra ilustre de Araújo Porto
Alegre, reboam uníssonos, em torno do notável empreendimento”</span>.<o:p></o:p></span></i></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Esta mesma teleologia
imante orientou o discurso de Tasso CORREA^, em 1934 quando afirmou que “<span style="color: #45818e;">o </span><i><span style="color: #45818e;">instituto é uma organização destinada à
difusão do ensino artístico no Rio Grande do Sul</span>”.</i><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt;">Com esta consciência
coletiva, cada vez mais evidente e consolidada, as interações no plano nacional
do IBA-RS ganhavam sentido e personalidade própria e sem estereótipos fáceis e
agradáveis. </span></div>
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</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjozhNlYGd5hyphenhyphenyCzKi4FdOVGA9cPuLjA6A9U3gn5l65jwRPAcicrNxjLpZyGXdkPdoKZtD14JJvfNvoaylzTWjjHV1G_a6GFxzk81k0FM2WMMqVYsTITfEYnJ5iRZ0gmz03du6qVjC0hKZD/s1600/18+-+Francis+PELICHEK+compensa+sua+ALTURA+em+rela%25C3%25A7%25C3%25A3o+%25C3%25A0+aluna.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="442" data-original-width="523" height="270" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjozhNlYGd5hyphenhyphenyCzKi4FdOVGA9cPuLjA6A9U3gn5l65jwRPAcicrNxjLpZyGXdkPdoKZtD14JJvfNvoaylzTWjjHV1G_a6GFxzk81k0FM2WMMqVYsTITfEYnJ5iRZ0gmz03du6qVjC0hKZD/s320/18+-+Francis+PELICHEK+compensa+sua+ALTURA+em+rela%25C3%25A7%25C3%25A3o+%25C3%25A0+aluna.jpg" width="320" /></a></div>
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<b><span style="font-family: "arial narrow" , sans-serif; mso-bidi-font-family: "Arial Black";">Francis PELICHEK compensa sua ALTURA em relação à aluna<o:p></o:p></span></b></div>
<br />
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 18 - <b>Outra
razão de um número restrito de vagas num CURSO SUPERIOR de ARTES PLÁSTICAS é o
atendimento individualizado para cada estudante. </b>No vasto campo de forças estéticas é
impossível estandardizar à maneira da linha de
montagem e das series industriais e tayloristas. Apesar da LINHA de MONTAGEM tomar conta das
mentalidades das universidades persistem irredutíveis as diferenças entre
estudantes de artes. Mesmo entre
docentes da Arte as aspirações, as pesquisas e as obras são absolutamente
diferentes entre si. Caso contrário NÂO SERIA ARTE na qual domina o único, o
criativo e aquilo que permanece. <o:p></o:p></span></div>
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<br /></div>
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<b><span style="color: #0070c0; font-family: "arial black" , sans-serif; font-size: 16.0pt;">03.3 –</span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> </span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;">Ambos cumpriram o
papel de formar no RIO GRANDE do SUL AGENTES QUALIFICADOS para a sua SOCIEDADE, seu
LUGAR e sem TEMPO</span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> <o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Tanto a ESCOLA de ARTES tanto
como o CURSO SUPERIOR da ARTES PLÁSTICAS cumpriram o papel da <i> “d<span style="color: #134f5c;">ifusão do ensino artístico no Rio Grande do
Sul</span>”</i> Este projeto, inexistente no
REGIME IMPERIAL, criou corpo físico nos primórdios do REGIME REPUBLICANO.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 70.9pt;">
<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> Para fazer justiça a ambos é necessário estar
atento para a repentina explosão universitária que se deu entre 1931 e 1964.
Esta fragorosa explosão popular universitária brasileira, desqualificou e
sepultou a memória e o repertório da ESCOLA de ARTES, pioneira no Rio Grande do
Sul no período de 1910 e 1930.<o:p></o:p></span></div>
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</div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Espera-se volta à calma
e o refluxo de<i> </i>pesquisas, documentos
e socializações para contabilizar aqueles que</span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> cumpriram o papel de formar no RIO GRADE do SUL AGENTES QUALIFICADOS
para a sua SOCIEDADE, o seu LUGAR e o TEMPO que lhes foi dado</span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">.<o:p></o:p></span></div>
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</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIQWG15_aOce9mi2EoUx_C0a0BVOtCU3ytHtjFz7cZIilBlHQxLF9FgaLnSVfhE8mjPZ_BQpFliMzxBN66w6pk2eYJpiTuFvi7L7CqLTcVLAsjy25CmdK58vhRY2vys9KQHgo6OI47YOs0/s1600/19+IBA+1915+-1943.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="932" data-original-width="1269" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIQWG15_aOce9mi2EoUx_C0a0BVOtCU3ytHtjFz7cZIilBlHQxLF9FgaLnSVfhE8mjPZ_BQpFliMzxBN66w6pk2eYJpiTuFvi7L7CqLTcVLAsjy25CmdK58vhRY2vys9KQHgo6OI47YOs0/s400/19+IBA+1915+-1943.jpg" width="400" /></a></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig.
19 – <b>As diferenças dos dois prédios do
IBA-RS reflete e materializa as distinções ente a sua ESCOLA de ARTES e o seu
CURSO SUPEROIR de ARTES PLÁSTICAS </b>O
sobrado da antiga Loja Maçônica de Von KOZERITZ foi alugado e adquirido pelo IBA-RS no ano da 1913 e
acrescido um andar no qual funcionou o Atelier da Escola de Artes, O novo
prédio foi erguido em 1941-1943 e recebeu um segundo bloco em 1952, Este novo
espaço – construído especificamente para as ARTES - permitiu a instalação e a expansão do CURSO
SUPERIOR de ARTES PLÁSTICAS Com o
objetivo de materializar estre projeto três p</span><span style="color: #c00000; font-family: "arial" , sans-serif; mso-fareast-language: PT-BR;">rofessores assinam,
no dia <b>02. 10. 1941,</b> no 5º cartório de Porto Alegre a hipoteca de suas
proprias casas a favor da Caixa Econômica Federal para levantar fundos para a
construção do prédio do Instituto de Belas Artes</span><a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftn1" name="_ftnref1" title=""><sup><span style="font-size: 9.0pt; line-height: 115%; mso-bidi-font-size: 10.0pt; mso-fareast-language: PT-BR;"><!--[if !supportFootnotes]--><sup><span style="font-family: "times new roman" , serif; font-size: 9.0pt;">[1]</span></sup><!--[endif]--></span></sup></a><span style="color: #c00000; font-family: "arial" , sans-serif;"><o:p></o:p></span></div>
<br />
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<br /></div>
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<br /></div>
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<b><span style="font-family: "arial black" , sans-serif; line-height: 150%;">CONCLUSÕES</span></b><span style="font-family: "verdana" , sans-serif; font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">A Arte é formada por uma
sequência ininterrupta de expressões originais e únicas, que necessitam pulsar
por tempo indeterminado. Qualquer estereótipo é apenas mais um alfinete para
fixar as carcaças daquilo que foi alguma vez VIDA e ARTE.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">A ARTE VIVA que supõe
expressões originais e únicas. Expressões que provocam </span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">aberturas
no atual IA-UFRGS uma sequência continua e ininterrupta de MUDANÇAS
competentes para fazer nascer, frutificar e se reproduzir manifestações vivas da
ARTE.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 70.9pt;">
<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">No contraditório é sempre bom se perguntar, e ter certeza, das condições
objetivas propícias para desencadear toda e qualquer RUPTURA EPISTÊMICA,
ESTÉTICA e MATERIAL. Mesmo no interior de uma universidade sempre cabe a atenção
e a interlocução com</span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> os demais saberes eruditos do meio cultural sul-rio-gra</span><span style="font-family: "verdana" , sans-serif;">ndense </span><b><span style="font-family: "verdana" , sans-serif; font-size: 16.0pt; line-height: 150%;"><o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> A coerência da ARTE com o seu LUGAR, com a sua
SOCIEDADE e os seus TEMPOS implica em MUDANÇAS CONSTANTES. MUDANÇAS que se
buscou evidenciar, aqui, índices das</span><b><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt; line-height: 150%;"> </span></b><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">MUDANÇAS entre a ESCOLA
de ARTES (1910-1938) e o CURSO SUPERIOR de ARTES PLÁSTICAS (1939-1964) do
IBA-RS. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 70.9pt;">
<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">É este pulsar entre a CONTINUIDADE
INSTITUCIONAL se batendo em CONSTANTES MUDANÇAS se apresentam na diacronia do
atual INSTITUTO de ARTES da Universidade Federal do Rio Grande do Sul
(IA-UFRGS)<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 70.9pt;">
<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> O texto e as imagens, acima, limitam-se, a alguns
dados daquilo que aconteceu na ESCOLA de ARTES e no CURSO de ARTES PLÁSTICAS do
IBA-RS entre os anos de 1910-1964. Aquilo que aconteceu depois, desta data, já
constitui competências dos três Departamentos do IA-UFRGS e em especial do
DEPARTAMENTO de ARTES VISUAIS (DAV).<o:p></o:p></span></div>
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<a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt; mso-bidi-font-size: 10.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif; font-size: 8.0pt;">[1]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt; mso-bidi-font-size: 10.0pt;"> - Livro de Atas nº 2 do CTA p.6 f<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7UGU7ncUNyp2KeO39KlQnU4LUr1grIGuksA9yIA9_2J30Oq5y1ezNxgWl2GdpVXv-ynlO6zjLxC6fTQ9IbnBA1DNOcA9wkegKvyuNJnIhMg5ZnCc3VdXEok6f-c3BrFnMCwO4oR-R7MsO/s1600/20+Fernando+CORONA+1895-1979+na+sua+sala+de+aula+em+1965.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="736" data-original-width="788" height="372" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7UGU7ncUNyp2KeO39KlQnU4LUr1grIGuksA9yIA9_2J30Oq5y1ezNxgWl2GdpVXv-ynlO6zjLxC6fTQ9IbnBA1DNOcA9wkegKvyuNJnIhMg5ZnCc3VdXEok6f-c3BrFnMCwO4oR-R7MsO/s400/20+Fernando+CORONA+1895-1979+na+sua+sala+de+aula+em+1965.jpg" width="400" /></a></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">Fernando
CORONA (1895-1979) na sua sala de aula em 1965<o:p></o:p></span></b></div>
<br />
<div align="center" class="MsoNormal" style="line-height: 115%; text-align: center; text-indent: 7.1pt;">
<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig.
20- </span><b style="color: #c00000; font-family: Arial, sans-serif;">Fernando
CORONA, além de escrever as suas memórias, constituir álbuns e redigir
publicações e periódicos e livros, contribui para criar as condições materiais
e lugares para a guarda de documentos. </b><span style="color: #c00000; font-family: "arial" , sans-serif;">Corona projetou os atuais prédios do
IA-UFRGS e fiscalizou a construção dos prédios que abrigam o auditório, a biblioteca
e pinacoteca do IA-UFTRS. Com dois outros colegas ele hipotecou as suas próprias
residências</span><b style="color: #c00000; font-family: Arial, sans-serif;"> </b><span style="color: #c00000; font-family: "arial" , sans-serif;">com o objetivo de viabilizar
economicamente a construção do IBA-RS. Ele foi um agente ativo da iniciativa da
reincorporação do IBA-RS na URGS </span><a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftn1" name="_ftnref1" style="color: #c00000; font-family: Arial, sans-serif;" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: #c00000; font-size: 12pt;">[ 1]</span></span><!--[endif]--></span></a><span style="color: #c00000; font-family: "arial" , sans-serif;">.
Deve-se a ele mais um elemento que deflagrou o processo da FEDERALIZAÇÃO de
ambas as instituições.</span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 115%;"><o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;">FONTES
BIBLIOGRÁFICAS<o:p></o:p></span></div>
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<b><span lang="FR" style="font-family: "arial" , sans-serif; font-size: 12.0pt;">ARGAN,
</span></b><span lang="FR" style="font-family: "arial" , sans-serif; font-size: 12.0pt;">Giulio Carlo (1909-1992)<b>. História da arte como hist</b></span><b><span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">ória da cidade. </span></b><span style="font-family: "arial" , sans-serif; font-size: 12.0pt;"> São Paulo:
Martins Fontes. 1992.<o:p></o:p></span></div>
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<br /></div>
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<b><span lang="ES-TRAD" style="font-family: "arial" , sans-serif; font-size: 12.0pt;">BOESIGER</span></b><span lang="ES-TRAD" style="font-family: "arial" , sans-serif; font-size: 12.0pt;">, Willy . <b><i> Le Corbusier Les Derniers œuvres </i></b> Zurich : Artemis, œuvres complètes 1970, ,
v.8, 208 p<o:p></o:p></span></div>
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<br /></div>
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<b><span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">CORONA </span></b><span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">Fernando (1895-1979) </span><b><i><span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">COISAS MINHAS : 1962 1965 Brasília e outros alpistes </span></i></b><span style="font-family: "arial" , sans-serif; font-size: 12.0pt;"> 06.08. 1962 26.11.1965. 85 folhas sem linhas caderno
simples: 210 mm X 149 mm. Acervo
descendentes de Fernando Corona<i> <o:p></o:p></i></span></div>
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<i> </i><span style="font-family: "arial" , sans-serif; font-size: 12.0pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "arial" , sans-serif; mso-bidi-font-style: italic;">MÜLLER</span></b><span style="font-family: "arial" , sans-serif; mso-bidi-font-style: italic;"> Juvenal
Octaviano<span class="apple-converted-space"> (</span><a href="http://pt.wikipedia.org/wiki/1866" title="1866">1866</a><span class="apple-converted-space"> - </span><a href="http://pt.wikipedia.org/wiki/1909" title="1909">1909</a>) TOPSIUS </span><b><i><span style="font-family: "arial" , sans-serif; mso-fareast-language: PT-BR;">O Rio Grande do Sul vae ter o seu Instituto de
Bellas Artes<u> </u></span></i></b><span style="font-family: "arial" , sans-serif; mso-fareast-language: PT-BR;">TOPICOS
DO DIA, Porto Alegre: Correio do Pono22 de abril de 1908<o:p></o:p></span></div>
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<br /></div>
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<b><span style="font-family: "arial" , sans-serif;">SOUZA NEVES</span></b><span style="font-family: "arial" , sans-serif;">, Carlos. <b><i>Ensino Superior no Brasil:
legislação e jurisprudência federais</i></b><i>.</i>
Rio de Janeiro: MEC-INEP. 1951 4 vol.<o:p></o:p></span></div>
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<b><span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">WEBER</span></b><span style="font-family: "arial" , sans-serif; font-size: 12.0pt;">, Max.<b> Sobre a universidade</b>. São Paulo :
Cortez, 1989. 152 p.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">FONTES NUMÉRICAS
DIGITAIS<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">CARTA de LE
BRETON ao CONDE da BARCA<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 11pt;"><a href="http://profciriosimon.blogspot.com.br/2016/02/151-logistica-em-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2016/02/151-logistica-em-estudos-de-arte.html</a><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif;">Decreto nº 19851 de 11.04.1931
cria a Universidade Brasileira<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif;"> <a href="http://www.planalto.gov.br/ccivil_03/decreto/1930-1949/D19851.htm"><span lang="DE">http://www.planalto.gov.br/ccivil_03/decreto/1930-1949/D19851.htm</span></a><o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 12.0pt;">Discurso de
Tasso CORRÊA no Theatro São PEDRO<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif;"> <a href="http://profciriosimon.blogspot.com/2016/04/165-o-pensamento-de-tasso-correa.html">http://profciriosimon.blogspot.com/2016/04/165-o-pensamento-de-tasso-correa.html</a></span><span style="font-family: "verdana" , sans-serif; font-size: 10.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">A UNIVERSIDADE BRASILEIRA e a ARTE </span></b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">no PENSAMENTO de
TASSO BOLIVAR DIAS CORRÊA - </span><b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">Isto é ARTE nº 165 -<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"><a href="http://profciriosimon.blogspot.com.br/2016/04/165-o-pensamento-de-tasso-correa.html">http://profciriosimon.blogspot.com.br/2016/04/165-o-pensamento-de-tasso-correa.html</a><o:p></o:p></span></b><br />
<b><br /></b></div>
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<div class="MsoNormal" style="background: white;">
<span style="color: #222222; font-family: "arial" , "sans-serif"; mso-fareast-language: PT-BR;">Depoimento de <a href="https://www.facebook.com/renato.borba?fref=ufi" target="_blank"><span style="color: #1155cc;">Renato Borba</span></a> em 22 de
abril de 2020 <o:p></o:p></span></div>
<br />
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<span style="color: #222222; font-family: "arial" , "sans-serif"; mso-fareast-language: PT-BR;">“<i>O Instituto Municipal de Belas
Artes de Bagé - <a href="https://www.facebook.com/rita.jobim.73?hc_location=ufi" target="_blank"><span style="color: #1155cc;">Imba Bagé</span></a>. Veio a ser criado por fomento do
maestro Guilherme Fontaínha, como decorrência desse movimento histórico e pelas
pesquisas que realizei, a atuação do maestro alcançou inclusive, o município de
Santana do Livramento. Segundo um depoimento que colhi de uma professora
aposentada da UFSM que foi uma das sua alunas nesse município</i>”.<o:p></o:p></span></div>
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<a href="file:///D:/284%20ESCOLA%20de%20ARTES%201930-1964/0-284%20-%20ESCOLA%20DE%20ARTES%20e%20CURSO%20de%20ARTES%20PL%C3%80TTICA.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">[1]</span></span><!--[endif]--></span></a>,
CORONA Fernando (1895-1979) <b><i>COISAS
MINHAS : 1962 1965 Brasília e outros alpistes </i></b> 06.08. 1962
26.11.1965. 85 folhas sem linhas caderno simples: 210 mm X 149 mm. Acervo descendentes de
Fernando Corona<i> </i><o:p></o:p></div>
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<span style="color: #c00000; font-family: "arial narrow" , sans-serif; mso-bidi-font-family: "Arial Narrow";">Este material possui uso
restrito ao apoio do processo continuado de ensino-aprendizagem</span><o:p></o:p></div>
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<span style="color: #c00000; font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">Não há pretensão de lucro ou
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<span style="color: #c00000; font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">Este material é editado e
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idioma.</span><o:p></o:p></div>
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<span style="color: #984806; font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"><span style="mso-spacerun: yes;"> </span></span><a href="http://creativecommons.org/licenses/by/3.0/"><span style="color: navy; font-family: "arial narrow" , sans-serif; font-size: 9.0pt;">http://creativecommons.org/licenses/by/3.0/</span></a><span style="font-family: "arial narrow" , sans-serif; font-size: 9.0pt;"><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "arial narrow" , sans-serif; mso-bidi-font-family: "Arial Narrow"; mso-font-kerning: 1.0pt;">DISSERTAÇÃO: A Prática Democrática</span></b><o:p></o:p></div>
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<a href="http://www.lume.ufrgs.br/handle/10183/1445"><span style="color: blue; font-family: "segoe ui" , sans-serif; font-size: 10.0pt;">http://www.lume.ufrgs.br/handle/10183/1445</span></a><span style="color: black; font-family: "segoe ui" , sans-serif; font-size: 10.0pt;"> </span><o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="ES-CL" style="font-family: "arial narrow" , sans-serif; mso-ansi-language: ES-CL; mso-bidi-font-family: "Arial Narrow";">VÌDEO</span></b><o:p></o:p></div>
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<span style="color: black; font-family: "arial narrow" , sans-serif; mso-ansi-language: ES-CL; mso-bidi-font-family: "Arial Narrow"; mso-fareast-font-family: "Arial Narrow";"><span style="mso-spacerun: yes;"> </span></span><a href="http://www.youtube.com/watch?v=qdqXEg7ugxA"><span lang="ES-CL" style="color: navy; font-family: "arial narrow" , sans-serif; mso-ansi-language: ES-CL; mso-bidi-font-family: "Arial Narrow";">http://www.youtube.com/watch?v=qdqXEg7ugxA</span></a><span lang="ES-CL" style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">.</span><o:p></o:p></div>
<br />Prof. Círio Simonhttp://www.blogger.com/profile/06566693954184732946noreply@blogger.com0tag:blogger.com,1999:blog-1362905750550965943.post-54830630542006859652020-03-30T12:09:00.002-07:002020-04-18T09:31:12.947-07:00283 –ISTO é ARTE -<div style="text-align: center;">
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<span style="font-family: "arial black" , sans-serif;"><span style="font-size: x-large;">A presença das
mulheres-artistas nas artes visuais nobres do Rio Grande do Sul (1930-64</span></span><span style="font-family: "arial black" , sans-serif; font-size: 18.0pt;">)<o:p></o:p></span></div>
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<i><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">”<b><span style="color: blue;">Vê se bota isto na sua
cabeça. Cada coisa deve ocupar um espaço proporcional ao seu tamanho. E isto
vale para tudo na vida. Antes de assumir um compromisso, vê se tu tens
condições de cumprir</span></b>”</span></i><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> Olga PARAGUASSU (in Terra, 2000, p 46) <o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt; line-height: 150%;">. LABORATÓRIO DE HISTÓRIA das ARTES VISUAIS do
RIO GRANDE do SUL<o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">5º Encontro
– 15/04/2020</span></b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"> 2ª
Palestra (15:30 – 16:30)</span><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"><b>e adiado devido ao CORONAVÍRUS.</b></span><br />
<span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"><b> </b> – A presença das mulheres artistas na arte do Rio
Grande do Sul (1930-64) – Prof. Círio
Simon<o:p></o:p></span></div>
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<span style="font-size: small;"><b><span style="color: #0070c0; font-family: "arial" , sans-serif; font-size: 11.0pt;"><span style="color: black;">00</span>–</span></b><b><span style="font-family: "arial" , sans-serif; font-size: 11.0pt;">
</span></b><b><span style="font-family: "arial" , sans-serif; font-size: 11.0pt;">As circunstâncias
culturais e étnicas da presença da mulher na ARTE do Rio Grande do Sul</span></b><span style="font-family: "arial" , sans-serif; font-size: 11.0pt;"> <o:p></o:p></span></span></div>
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<span style="font-size: small;"><b><span style="font-family: "arial black" , sans-serif; mso-bidi-font-family: Arial;">01– </span></b><b><span style="font-family: "arial black" , sans-serif; line-height: 150%;">As circunstâncias culturais, politizas das mulheres
como agentes ativas no espaço e cena publica</span></b><b><span style="font-family: "arial black" , sans-serif; mso-bidi-font-family: Arial;"><o:p></o:p></span></b></span></div>
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<span style="font-size: small;"><b><span style="font-family: "arial" , sans-serif;">01.1.–
</span></b><b><span style="font-family: "arial" , sans-serif; line-height: 150%;">Sufragistas e o VOTO FEMININO
no BRASIL</span></b><b><span style="font-family: "arial" , sans-serif;"> . </span></b><span style="font-family: "arial" , sans-serif;">- <b>01.2–</b></span><b><span style="font-family: "arial" , sans-serif; line-height: 150%;"> O VOTO
FEMININO e as ARTES NOBRES no RIO GRANDE do SUL </span></b><b><span style="font-family: "arial" , sans-serif;"> 01.3 –
</span></b><b><span style="font-family: "arial" , sans-serif; line-height: 150%;">As
sucessivas gerações de mulheres que mantivera a erudição das ARTES NOBRES
VISUAIS do Rio Grande do Sul</span></b><b><span style="font-family: "arial" , sans-serif;"><o:p></o:p></span></b></span></div>
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<span style="font-size: small;"><b><span style="font-family: "arial black" , sans-serif; mso-bidi-font-family: Arial;">02 – </span></b><span style="font-family: "arial black" , sans-serif; mso-bidi-font-family: Arial;">As PIONEIRAS.<b><o:p></o:p></b></span></span></div>
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<span style="font-size: small;"><b><span style="font-family: "arial" , sans-serif;"> 02.1 –
ORIGEM </span></b><b><span style="font-family: "arial" , sans-serif; line-height: 150%;">ARTES
NOBRES VISUAIS femininas no RIO GRANDE do SUL</span></b><b><span style="font-family: "arial" , sans-serif;"> entre1930 e 1964.</span></b><span style="font-family: "arial" , sans-serif;"> </span><b style="font-family: Arial, sans-serif;">02.2 – A OBRA FEMININA ERUDITA no RIO GRANDE do
SUL 02.3 – As </b><span style="font-family: "arial" , sans-serif;"><b>INTERAÇÕES</b></span><b style="font-family: Arial, sans-serif;"> a </b><span style="font-family: "arial" , sans-serif;"><b>RECEPÇÃO</b></span><b style="font-family: Arial, sans-serif;"> e consagração da
OBRA FEMININA no RIO GRANDE do SUL . <o:p></o:p></b></span></div>
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<span style="font-size: small;"><b><span style="font-family: "arial black" , sans-serif; line-height: 150%;">03 – </span></b><span style="font-family: "arial black" , sans-serif; line-height: 150%;">Um BREVE QUADRO das HERANÇAS das PIONEIRAS </span><span style="font-family: "arial black" , sans-serif; line-height: 150%;">entre 1930 e 1964</span><span style="font-family: "arial black" , sans-serif; line-height: 150%;"> <b>.<o:p></o:p></b></span></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: small;"><b> 03.1 –
As ARTES NOBRES e a PESQUISA ESTÉTICA FEMININA . 03.2
–Os recursos de formação e o associativismo feminino 03.3 – Os
atuais sistemas de consagração 03.4 – MAGISTÉRIO - CRONISTAS - HISTORIADORAS e
TEÓRICAS das ARTES VISUAIS no RIO GRANDE do SUL</b></span><br />
<span style="font-family: "arial" , sans-serif; font-size: small;"><b><o:p></o:p></b></span></div>
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<span style="font-size: small;"><b><span style="font-family: "arial" , sans-serif;">CONCLUSÕES.</span></b></span><span style="font-family: "arial" , sans-serif;"><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9lTak0oBgBwIyAai4kfIPsCZ9E16-F6pA6dJlJSke1LwFYQUjzibiRqChaJx2N5KgHtOvijNalC_s5L6EUuSd_RbFscxBgszY7pcsHbBjiK3EtcQs8AQLFnupbjLJuFav2Yprb68i9OUr/s1600/01+DOrothea.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1179" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9lTak0oBgBwIyAai4kfIPsCZ9E16-F6pA6dJlJSke1LwFYQUjzibiRqChaJx2N5KgHtOvijNalC_s5L6EUuSd_RbFscxBgszY7pcsHbBjiK3EtcQs8AQLFnupbjLJuFav2Yprb68i9OUr/s400/01+DOrothea.jpg" width="293" /></a></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 10.0pt;">Foto de Salomão SCLIAR
estampada na Revista CRUZEIRO de 1947 – Álbum nº 1 de Fernando Corona- Arquivo
do Instituto de Ates UFRGS<o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 01 <b>A
escultora Dorothea VERGARA</b><span style="font-size: x-small;"><a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: #c00000; font-size: 12pt;">[1]</span></span><!--[endif]--></span></a></span><b>
modelando a figura feminina com o modelo</b> A formação superior permitiu se colocar
em pé de igualdade não só com o artistas homens como permitiu uma fecunda
interlocução com os demais saberes eruditos da universidade e meio cultural rio-grandense. </span></div>
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<b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;">0–</span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> Definindo
termos e delimitando as</span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> circunstâncias culturais e étnicas da presença da mulher na ARTES
VISUAIS NOBRES do Rio Grande do Sul</span></b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Inicia-se uma narrativa
em relação as ARTES VISUAIS NOBRES FEMININAS no RIO GRANDE do SUL. Certamente a
mão feminina possui peculiaridades das quais se possui mais especulações do que
certezas<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">O<b> PROPÓSITO GERAL</b> é criar uma narrativa no contexto das ARTES
VISUAIS NOBRES no limite geográfico do estado do Rio Grande do Sul. Esta
narrativa busca inserir-se no projeto do</span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> LABORATÓRIO DE HISTÓRIA das
ARTES VISUAIS do RIO GRANDE do SUL desenvolvido no MARGS no 1º SEMESTRE de 2020
e a convite da AAMARGS.</span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Nesta narrativa é
necessário definir o sentido dos termos do nosso discurso antes de qualquer
coisa.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Quanto ao vasto campo da
ARTE concorda-se com Aristóteles que na
ÉTICA a NICOMANO </span><a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftn2" name="_ftnref2" title=""><sup><span style="font-size: 10.0pt; line-height: 150%; mso-bidi-font-size: 11.0pt;"><!--[if !supportFootnotes]--><sup><span style="font-family: "times new roman" , serif; font-size: 10.0pt;">[2]</span></sup><!--[endif]--></span></sup></a><span style="font-family: "vrinda" , serif; font-size: 10.0pt; line-height: 150%;">(</span><span style="font-family: "vrinda" , serif; font-size: 10.0pt; line-height: 150%;">1973: 243 <sup>114a 10</sup></span><span style="font-family: "vrinda" , serif; font-size: 10.0pt; line-height: 150%;"> ) </span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">que</span><i><span style="color: #da0000; font-family: "verdana" , sans-serif; font-size: 8.0pt; line-height: 150%;"><o:p></o:p></span></i></div>
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<span style="font-size: 9pt;">“</span><i><span style="font-family: "verdana" , sans-serif; font-size: 14pt;">É idêntica a uma capacidade de produzir que envolve o reto
raciocínio. Toda arte visa a geração e se ocupa em inventar e em considerar as
maneiras de produzir alguma coisa que tanto pode ser como não ser, e cuja origem
está no que produz, e não no que é produzido. A arte não se ocupa nem com as
coisas que são ou que se geram por necessidade, nem com as que fazem de acordo
com a natureza. A arte é uma questão de produzir e não de ag</span></i><i><span style="font-family: "arial" , sans-serif; font-size: 11pt;">ir</span></i><span style="font-family: "arial" , sans-serif; font-size: 9pt;">.</span><span style="font-size: 9pt;">”</span><span style="font-family: "arial" , sans-serif; font-size: 9pt;"> Ética à
NICOMANO</span><o:p></o:p></div>
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<o:p> Resumindo:</o:p></div>
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<span style="font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">“</span><i><span style="font-family: "verdana" , sans-serif; font-size: 11.0pt;">Toda a arte está no que produz, e não no que é produzido</span></i><i><span style="font-size: 10.0pt; mso-bidi-font-size: 11.0pt;">”</span></i><i><span style="font-family: "vrinda" , serif; font-size: 10.0pt;">.</span></i><span style="font-family: "vrinda" , serif; font-size: 10.0pt;">
Aristóteles</span><a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftn3" name="_ftnref3" title=""><sup><span style="font-size: 10.0pt; mso-bidi-font-size: 11.0pt;"><!--[if !supportFootnotes]--><sup><span style="font-family: "times new roman" , serif; font-size: 10.0pt;">[3]</span></sup><!--[endif]--></span></sup></a><span style="font-family: "vrinda" , serif; font-size: 10.0pt;">(</span><span style="font-family: "vrinda" , serif; font-size: 10.0pt;">1973: 243 <sup>114a
10</sup></span><span style="font-family: "vrinda" , serif; font-size: 10.0pt;"> ) </span><i><span style="color: #da0000; font-family: "verdana" , sans-serif; font-size: 8.0pt;"><o:p></o:p></span></i></div>
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<span style="font-family: "verdana" , sans-serif; line-height: 150%;"><span style="font-size: 14pt;">A rígida LINHA DE
MONTAGEM CULTURAL da ERA INDUSTRIAL</span><a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: x-small;">[4]</span></span><!--[endif]--></span></a><span style="font-size: 14pt;">
dividiu e segmentou tudo aquilo que pode ser percebido e identificado. Nesta fragmentação
do campo estético gerou as diversas CATEGORIAS classificatórias entre elas as
ARTES NOBRES. <o:p></o:p></span></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">A cada CATEGORIA um cabe
uma gaveta e um alfinete caso seja necessário socializar isto vasto quadro
conceitual. O adjetivo faz este papel de alfinete conceitual<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Além da CATEGORIA das
ARTES NOBRES, temos a ERUDITA, a POPULAR, a PRIMITIVA, a ÉTNICA. A todas elas
correspondem as manifestações das ARTES VISUAIS FEMININAS. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; line-height: 150%;"><span style="font-size: 14pt;">Entende-se com ARTE
NOBRE</span><a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: x-small;">[5]</span></span><!--[endif]--></span></a><span style="font-size: 14pt;">
aquela que a criatura humana pratica sem lhe determinar uma aplicação
econômica, comunicação linear e unívoca. Neste caso a PINTURA é praticada por
uma absoluta NECESSIDADE INTERIOR de materializar uma OBRA. As ARTES NOBRES
distinguem-se e se concentram em OBRAS que permanecem, enquanto as ARTES
APLICADAS são TRABALHOS destinados ao consumo e perecerem.<o:p></o:p></span></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Porém muito se perde da
essência de “A ARTE ESTÁ EM QUEM PRODUZ” tanto na comparação como forma de
sistematização e socialização nos moldes do SISTEMA da ERA INDUSTRIAL, Assim a
mulher produziu, externou e materializou sentimentos que só elas podem gerar, desenvolver
e dar um suporte material às suas intuições, aos seus pensamentos e os materializou
em OBRAS perceptíveis por seus observadores, <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> A presença da mulher, na cultura sul-rio-grandense,
poder ser diferenciada em diversas matizes culturais e pelas suas origens étnicas,
como a indígena, a açoriana e as dos imigrantes não ibéricos </span><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">A presença da mulher na
cultura sul-rio-grandense também é diferenciada nos seus papeis sócias,
econômicos e estéticos. Nestes PAPEIS SOCIAIS a mulher atinge a sua AUTONOMIA
na medida em que ela conquista o direito de USAR o PRÓPRIO o seu NOME, ASSINAR
e DATAR as suas OBRAS e dispor e contratar da posse simbólica do que ela
produz. Nestes três vetores se dá o início da clivagem e da diferença entre
ARTES NOBRES e aquelas utilitárias e APLICADAS. Ou seja, entre a OBRA e o
TRABALHO. Obra que permanece e trabalho que perece,<o:p></o:p></span></div>
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<a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[1]</span></span><!--[endif]--></span></a><span lang="FR"> Obras de Dorothea VERGARA </span><a href="http://www.ufrgs.br/acervoartes/artistas/v/imagens-de-dorothea-vergara"><span lang="FR">http://www.ufrgs.br/acervoartes/artistas/v/imagens-de-dorothea-vergara</span></a> <span lang="FR"><o:p></o:p></span></div>
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<a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftnref2" name="_ftn2" title=""><span class="FootnoteCharacters"><!--[if !supportFootnotes]--><span class="FootnoteCharacters"><span style="font-family: "times new roman" , serif;">[2]</span></span><!--[endif]--></span></a> - ARISTÓTELES (384-322).
<b><i>Ética a Nicômano.</i> </b>São Paulo:
Abril Cultural1973. 329p.<o:p></o:p></div>
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<a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftnref3" name="_ftn3" title=""><span class="FootnoteCharacters"><!--[if !supportFootnotes]--><span class="FootnoteCharacters"><span style="font-family: "times new roman" , serif;">[3]</span></span><!--[endif]--></span></a> IDEM<o:p></o:p></div>
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<a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[4]</span></span><!--[endif]--></span></a> <b><span style="font-family: "arial" , sans-serif;">PESAVENTO</span></b><span style="font-family: "arial" , sans-serif;">. Sandra Jatahy. <b>História da indústria sul-rio-grandense. </b>Guaiba
: RIOCEL, 1985, 123 p.<o:p></o:p></span></div>
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<br />
<a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[5]</span></span><!--[endif]--></span></a>
Para o conceito de ARTES NOBRES ver <span style="font-family: "arial narrow" , sans-serif;">CARTA de LE BRETON ao CONDE da BARCA<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif;"><a href="http://profciriosimon.blogspot.com.br/2016/02/151-logistica-em-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2016/02/151-logistica-em-estudos-de-arte.html</a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkoOmya4fnpIx_aCVJ0L3_QoQTvf_LhDtaNTjJpoQWU3N8VO_xOROE1CNS_phNkqA3OjQPPje6dxacDg4z4c-EiGhSqnvBp3Zi848GscVDfyROfc7LvJRNflj34MiQh_IO3q_WlvjOppwE/s1600/02+MISS%25C3%2595ES+e+IND%25C3%258CGENA+b-+CP+19.07.2011+p.+17.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="568" data-original-width="617" height="367" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkoOmya4fnpIx_aCVJ0L3_QoQTvf_LhDtaNTjJpoQWU3N8VO_xOROE1CNS_phNkqA3OjQPPje6dxacDg4z4c-EiGhSqnvBp3Zi848GscVDfyROfc7LvJRNflj34MiQh_IO3q_WlvjOppwE/s400/02+MISS%25C3%2595ES+e+IND%25C3%258CGENA+b-+CP+19.07.2011+p.+17.jpg" width="400" /></a></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 02 <b>A
mulher indígena está na busca da TERRA SEM MALES.</b> Sem desenvolver as concepções e as práticas
da posse individual ela se organiza em tribus, que por sua vez possui rígidos clãs. Assim não existe OBRA individual e nominal de alguma delas separada de seu
CLÃ ou TRIBO. De outra parte desempenhou um papel fundamental como mãe dos
filhos do lusitano. A mãe indígena ensinava a sua fala e os modos de
alimentação da terra e assim preparava o adulto competente para fala a língua
geral e não depender da alimentação do português <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; line-height: 150%;"><span style="font-size: 14pt;">A mulher indígena ainda
marca forte presença nas ruas das cidades sul-rio-grandenses. Elas são responsáveis
pela educação, iniciação dos filhos e pelo artesanato da TRIBO ou CLÃ na rota
traçado pelos seus antepassados</span><a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: x-small;">[1]</span></span><!--[endif]--></span></a><span style="font-size: 14pt;">
e orientada para a “TERRA SEM MALES”,<o:p></o:p></span></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">A mulher açoriana tinha
um papel preponderante na sua minúscula casa, na educação dos filhos e de
gerenciamento da vida da família nas longas ausências dos homens embarcados e de
permanência indeterminada na pesca em mares sem fronteiras.<o:p></o:p></span></div>
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<a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif; font-size: 10.0pt;">[1]</span></span><!--[endif]--></span></a> <b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">KERN</span></b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">, Arno Alvarez. <b>Antecedentes
indígenas. </b>Porto Alegre : UFRGS, 1994,
144p.</span><o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiid1qfbimSYejhGEMcWoQe_H0oY5GkGV9TAH7fREdDvbYOWDjKQ5cTgMzfdW_WwW-LzyjOlAR05ZFQsTFmlHS49NeNiWdOxiCrFE6t0b97AgPKXy10EJP7hPo9wlL4EnlJcX4UYI-8uj6X/s1600/03+-++-12+OS%25C3%2593RIO+-+RS+-+artes%25C3%25A3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1088" data-original-width="719" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiid1qfbimSYejhGEMcWoQe_H0oY5GkGV9TAH7fREdDvbYOWDjKQ5cTgMzfdW_WwW-LzyjOlAR05ZFQsTFmlHS49NeNiWdOxiCrFE6t0b97AgPKXy10EJP7hPo9wlL4EnlJcX4UYI-8uj6X/s400/03+-++-12+OS%25C3%2593RIO+-+RS+-+artes%25C3%25A3.jpg" width="263" /></a></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 03 <b>A
herança açoriana foi cultivada
silenciosamente no Rio Grande do Sul com vagas lembranças das aulas da monjas eruditas dos conventos das Ilhas do
Açores</b> Estas monjas era filhas de
famílias nobres europeias e repassavam estas habilidades e conhecimento às
mulheres açorianas, Assim na imigração trouxeram as habilidades da rende de
bilro, o macramê e as finas renas de linha se espalharam onde houve imigração açoriana,,
No Rio Grande do Sul ser conhecimento e saber se desenvolveu no litoral </span><br />
<br />
<b><span style="color: #0070c0; font-family: "arial" , sans-serif; font-size: 16.0pt;"><o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">A mulher do imigrante, não
ibérica, diferenciava-se das ibéricas pela sua alfabetização mais elevada.
Pelos contatos permanentes interculturais e pelos rudimentos de técnicas e
produtos da ERA INDUSTRIAL. De outro lado a sua economia era monetarista o que
significava que as produção de ARTES VISUAIS e ARTESANATO tinham um valor de
mercado na hora de sua produção. Costureiras, modistas e as pequenas indústrias
de alimentos tinham preço e não dependiam mais do escambo. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> Para a mulher era de continuidade da tradição
alimentar, porém num nível técnico e comercial mais elevado,<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Assim a tradição do DOCE
de PELOTAS criou a simbiose entre a tradição feminina açoriana, mas com os
olhos voltados para a tradição europeia, entre outras, a de PARIS<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHB4f24hQUYdT4gQ4XYBbRQ8eYeRKxFyS5YQcdjALCY-eHz8HD8P8xf2-glSgmJri9H7NQceDqEikv8m_mwMY2DBosDY6qOX9VFmL2PjVfy2x4YyX-2lu4AhBwsV4ObSTfnD614X6-GiS2/s1600/04Negra+escrava+com+veste+tipicas.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="741" data-original-width="668" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHB4f24hQUYdT4gQ4XYBbRQ8eYeRKxFyS5YQcdjALCY-eHz8HD8P8xf2-glSgmJri9H7NQceDqEikv8m_mwMY2DBosDY6qOX9VFmL2PjVfy2x4YyX-2lu4AhBwsV4ObSTfnD614X6-GiS2/s400/04Negra+escrava+com+veste+tipicas.jpg" width="360" /></a></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 04 <b>A
silenciosa resistência feminina africana veio através dos quitutes e maneiras
exóticas dos trajes mas especialmente por meio do mundo dos mitos e magias multisseculares
de sua terra de origem</b> O candomblé e especialmente o batuque criou
territórios de resistências, casas de santos nas quais a alma feminina e rainha determinante.</span><br />
<br />
<span style="color: #c00000; font-family: "arial" , sans-serif;"><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; line-height: 150%;"><span style="font-size: 14pt;">A mulher africana foi a
depositária das tradições alimentares da terá de origem tanto nos alimentos
como ”mãe de santo”</span><a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: x-small;">[1]</span></span><!--[endif]--></span></a><span style="font-size: 14pt;">,
os candomblés, nos batuque</span><span style="font-size: x-small;">s</span><a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: x-small;">[2]</span></span><!--[endif]--></span></a><span style="font-size: 14pt;">
e nos terreiros do Rio Grande do Sul. <o:p></o:p></span></span></div>
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<b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;">01– As circunstâncias
culturais, politizas das mu</span></b><b><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">lheres como agentes ativas no espaço e cena pública.<o:p></o:p></span></b></div>
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<a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[1]</span></span><!--[endif]--></span></a> <b><span style="font-family: "arial" , sans-serif;">LAYTANO</span></b><span style="font-family: "arial" , sans-serif;"> Dante de (1908-2000). - <b>Festa de Nossa Senhora dos Navegantes</b>
Estudo de uma tradição das populações
Afro-Brasileiras de Porto Alegre. Porto Alegre: UNESCO- Instituto
Brasileiro Ciência e Cultura- Comissão Estadual de Folclore do Rio Grande do
Sul - 6º Vol. 1955, 128 p. il<o:p></o:p></span></div>
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<a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[2]</span></span><!--[endif]--></span></a> <b><span style="font-family: "arial" , sans-serif;">CORRÊA</span></b><span style="font-family: "arial" , sans-serif;">, Norton F. </span><b><span style="font-family: "arial" , sans-serif;">Batuque no Rio Grande do Sul</span></b><span style="font-family: "arial" , sans-serif;">- antropologia de uma religião afro rio-grandense. São Luís - Maranhão
: CA-Cultura & Arte, 2008, 295 </span><span style="font-family: "arial" , sans-serif;">p</span><span style="font-family: "arial narrow" , sans-serif; font-size: 9.0pt;"><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYU_XQQHzxj-kE2OOWuaK05J0h7_qen9itRuBukBPrVeVDaQhfghoudC_9Yfh_WrD4REkHCipNCRpuQCR0nBqEI8-ztEfwd91J4jRtsuR3-H7tVm3ZVQbJ-FytJQ1ijpc8PaA5qrMg0gmj/s1600/05+-+MARIA+ANITA+LINCK+0953.21.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="761" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYU_XQQHzxj-kE2OOWuaK05J0h7_qen9itRuBukBPrVeVDaQhfghoudC_9Yfh_WrD4REkHCipNCRpuQCR0nBqEI8-ztEfwd91J4jRtsuR3-H7tVm3ZVQbJ-FytJQ1ijpc8PaA5qrMg0gmj/s400/05+-+MARIA+ANITA+LINCK+0953.21.jpg" width="303" /></a></div>
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<b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">BRITES</span></b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">, Blanca <b>---Cerâmica
um caminho de vida: Marianita Linck. </b>Porto Alegre: Imagem da Terra 2017 176
p. ul. Color </span><span style="font-family: "arial narrow" , sans-serif; font-size: 9.0pt;">ISBN 978-85-89371-22-3<o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 8.0pt;">Maria Annita Tollens
Linck ARTE em PORTO ALEGRE e a “HISTÓRIA em MIGALHAS” - 09.06<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 8.0pt;"><a href="http://profciriosimon.blogspot.com/2010/10/arte-em-porto-alegre-e-historia-em_21.html">http://profciriosimon.blogspot.com/2010/10/arte-em-porto-alegre-e-historia-em_21.html</a></span></b></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 05 - <b>As
mãos femininas como suporte de um
universo simbólico complexo e frágil lhe
conferem sentido, poesia e razão de ser</b> Esta competência feminina cresce e
se solidifica pela sua formação superior permitiu uma fecunda interlocução com
os demais saberes eruditos do meio cultural sul-rio-grandense </span><b><span style="color: #0070c0; font-family: "arial" , sans-serif; font-size: 16.0pt;"><o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">As </span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">mulheres
sempre foram agentes ativas no espaço e cena pública</span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> apesar de delegarem ao
homem a defesa, o exercício do PODER BRUTO AVERSIVO e DISCRIMINADOR. Formadoras
primeiras das mentalidades humanas sabiam e exerciam o PODER SIMBÓLICO SUBLIMINAR
e AGREGADOR.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Formadoras primeiras,
não só do corpo, mas das mentalidades humanas sabem dos segredos do exercício do
PODER SIMBÓLICO SUBLIMINAR e AGREGADOR.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">A sensibilidade feminina
ganhou, nas ARTES VISUAIS NOBRES do RIO GRANDE do SUL, um aliado neste seu
PODER e um amplo espaço divinatório quando se abrem as perspectivas da ÉPOCA
PÓS-INDUSTRIAL. Neste novo ambiente é notável o crescimento vertiginoso tanto
das artistas criadoras, como daquelas que entram e dominam o espaço teórico e
legitimador de sua presença no espaço público. A vertiginosa presença de OBRAS
e de CARGOS exercidos por NOMES FEMININOS é um atestado a mais da vigência da
ÉPOCA PÓS-INDUSTRIAL Neste novo espaço elas superam a necessidade do USO da
FORÇA BRUTA HUMANA.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; line-height: 150%;"><span style="font-size: 14pt;">Nas ARTES VISUAIS NOBRES
do RIO GRANDE do SUL é inegável e sensível o aumento de vozes, de obras e do
pensamento autoral feminino. Especialmente quando galgaram os degraus da
formação institucional superior</span><a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: x-small;">[1]</span></span><!--[endif]--></span></a><span style="font-size: 14pt;">.
Nestas vozes é necessário reconhecer o papel da MÚSICA</span><span style="font-size: x-small;"><a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[2]</span><!--[endif]--></span></a>
</span></span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">do Rio Grande do Sul onde elas tiveram lugar e ação bem anterior e em maior
número.<o:p></o:p></span></div>
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<b><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt; line-height: 150%;">01.1.–
Sufragistas e o VOTO FEMININO no BRASIL . <o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">A mulher brasileira
conquistou, no ano de 1932, o DIREITO ao VOTO com os seus próprios esforços e
persistência. Mesmo assim apenas tinham direito a este exercício do voto, as
MULHERES CASADAS e com AUTORIZAÇÃO LEGAL dos seus MARIDOS LEGÍTIMOS.<o:p></o:p></span></div>
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<a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[1]</span></span><!--[endif]--></span></a> <b><span style="font-family: "arial" , sans-serif;">ARTISTAS PROFESSORES da UFRGS</span></b><span style="font-family: "arial" , sans-serif;"> - obras do
acervo da Pinacoteca Barão de Santo Ângelo. </span><span lang="FR" style="font-family: "arial" , sans-serif;">Porto Alegre : Ed. UFRGS, 2002. 127 p.<o:p></o:p></span></div>
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<b><span lang="FR" style="font-family: "arial" , sans-serif;">BORSA CATTANI</span></b><span lang="FR" style="font-family: "arial" , sans-serif;">, Icleia Maria. « <b>Lieux et milieu de la peiture ‘moderniste’ au Bresil
(1917 –1929)</b> » <o:p></o:p></span></div>
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<span lang="FR" style="font-family: "arial" , sans-serif;"> </span><span style="font-family: "arial" , sans-serif;">Paris : Sorbonne</span><span style="font-family: "arial" , sans-serif;">. 1980 – tese – 401 fls.<o:p></o:p></span></div>
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<b><i><span style="font-family: "arial narrow" , sans-serif;">--------Icleia
Borasa Cattani</span></i></b><b><span style="font-family: "arial narrow" , sans-serif;"> - </span></b><span style="font-family: "arial narrow" , sans-serif;">organização Aguinaldo
Farias Rio de Janeiro : FUNARTE, 2004, 160 p. il<o:p></o:p></span></div>
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<a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[2]</span></span><!--[endif]--></span></a> <b><span style="font-family: "arial" , sans-serif;">NOGUEIRA, </span></b><span style="font-family: "arial" , sans-serif;">Isabel Porto – <i>El pianismo em la
ciudad de pelotas (RS-Brasil) conservatório de Música 1918 a 1968 uma lectura
histórica, msicológica y antropológica</i>- Madrid: Universidad Autônoma de
Madrid – tes 2000 317 fl.il<o:p></o:p></span></div>
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<b><span style="font-family: "arial" , sans-serif;">-------</span></b><span style="font-family: "arial" , sans-serif;">História
iconográfica do Conservatório de Pelotas- Poaro Alegre: Palotti 2005, 283 p. il<span style="font-size: 10pt;"><o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioCuNLEp4nWxYEzZPAjdFBttAsMKX1VIRyGUdsEaGYtj-UNT7t_FMoV4n5i3X5TOO7MSibjmR-ojndZMJtHEGQdLS2Gn10hbkM-9tCTq9wxxJorQPO3oUB7D9TqONPRCaJk9SpTKROtqnc/s1600/06++KERNER+Justina+Pohlmann++1846+-+1941+-+Mo%25C3%25A7a+da+Col%25C3%25B4nia+1900.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1081" data-original-width="752" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioCuNLEp4nWxYEzZPAjdFBttAsMKX1VIRyGUdsEaGYtj-UNT7t_FMoV4n5i3X5TOO7MSibjmR-ojndZMJtHEGQdLS2Gn10hbkM-9tCTq9wxxJorQPO3oUB7D9TqONPRCaJk9SpTKROtqnc/s400/06++KERNER+Justina+Pohlmann++1846+-+1941+-+Mo%25C3%25A7a+da+Col%25C3%25B4nia+1900.jpg" width="277" /></a></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"><a href="http://www.ufrgs.br/acervoartes/artistas/k/kerner-justina">http://www.ufrgs.br/acervoartes/artistas/k/kerner-justina</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 06 - <b>A
artista Justina POHLMANN KERNER, com
formação superior sm ARTES VISUAIS na Alemanha. Junto seu marido médico e pintor
de paisagens da terra adotiva, exerceram plenamente o sentido das ARTES NOBRES,
Produzindo ARTE porque gostavam dela, não a comercializavam e nem faziam propaganda
o marketing de suas obras</b> A formação superior de ambos permitiu que morassem
no coração geográfico dos estados e ai ritmo de uma vida possível na sociedade,
local e tempo que escolheram<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">As ARTES VISUAIS são um
precioso índice da conquista da AUTONOMIA FEMININA. Porém muito antes deste
decreto muitas já usavam o seu o PRÓPRIO NOME, ASSINAVAM e DATAVAM as suas OBRAS
e dispunham e contratavam a posse simbólica do que elas produziam. A lei veio
consagrar o que fato já existia especialmente nas ARTES VISUAIS NOBRES. Para
tanto basta ver a nominata das artistas do SALÃO da ESCOLA de ARTES do ano de
1929 </span><span style="color: #c00000; font-family: "arial narrow" , sans-serif;">(Fig.
12) .</span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Metade, de quem expunha ARTES NOBRES, eram mulheres.. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> </span><b><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt; line-height: 150%;"><o:p></o:p></span></b></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt; line-height: 150%;">- <b>01.2– O
VOTO FEMININO e as ARTES NOBRES no RIO
GRANDE do SUL<o:p></o:p></b></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">. </span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">ARTES
NOBRES FEMININAS no RIO GRANDE do SUL são uma criação humana artificial, ou
seja, algo que se sobrepõe à NATUREZA. Para estes</span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> FATOS HUMANOS a LEI os PRECEDE.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">A LEI precede estes
FATOS HUMANA, No entanto a sua substância e necessidade são preexistentes.
Seria um absurdo defender a ideia de que a LEI CRIA A ARTE. Ao contrário a LEI
AUSCULTA. TESTA e CONFERE uma FORMA LEGÍVEL e UNIVERSAL ao FATO HUMANO<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">A CONQUISTA do VOTO
FEMININO no BRASIL é uma das balizas para que esta LEI tenha um SUPORTE EMPÍRICO.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">As </span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">ARTES NOBRES FEMININAS no RIO GRANDE do SUL
evidenciaram plenamente o</span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> SUPORTE EMPÍRICO</span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> desta lei.</span><br />
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<b><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">01.3 – As
sucessivas gerações de mulheres que mantivera a erudição das ARTES NOBRES
VISUAIS do Rio Grande do Sul<o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Na criação do INSTITUTO
de BELAS ARTES do RIO GRANDE do SUL já escreviam<a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 14pt;">[1]</span></span><!--[endif]--></span></a>
que ele preexistia<o:p></o:p></span></div>
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<i><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt;">“O Rio Grande do Sul vae ter o seu Instituto de Belas Artes Resultado logico do evoluir da civilização rio-grandense,
o Instituto pairava latente na ordem natural das cousas, só a espera que o fiat
criador trovejasse do alto, para que ele surgisse de baixo, aparelhado para os
seus lúcidos destinos”.<o:p></o:p></span></i></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> Ainda que na fundação deste instituto apenas a MÚSICA tivesse a representação feminina na sua Comissão Central, com a criação
da Escola de Artes, no dia 10 de fevereiro de 1910, onde elas tornaram-se presença
majoritária no corpo discente. <o:p></o:p></span></div>
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<a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">[1]</span></span><!--[endif]--></span></a><b><u>Correio do Povo: Porto Alegre </u></b><b><u>TÓPICOS DO DIA
22 de abril de 1908<o:p></o:p></u></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9iyR3ZTT9clyXWZBkjfL_u_0HjtWb5MUlX437ygD6cOErbbQZJ8Q5-zwHpWwIEvxamMJBZ9dcaFYGO2Nyhzp1sPNRKfO0KrUPv5j1K3r8E5tMk9mc0hGzFAYWMEegiokRkDGQ13s10gs-/s1600/X+Aula+de+modelo+vivo+-+Pelichek.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="533" data-original-width="800" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9iyR3ZTT9clyXWZBkjfL_u_0HjtWb5MUlX437ygD6cOErbbQZJ8Q5-zwHpWwIEvxamMJBZ9dcaFYGO2Nyhzp1sPNRKfO0KrUPv5j1K3r8E5tMk9mc0hGzFAYWMEegiokRkDGQ13s10gs-/s400/X+Aula+de+modelo+vivo+-+Pelichek.JPG" width="400" /></a></div>
<span style="color: #c00000; font-family: "arial" , sans-serif; text-indent: -7.1pt;">Fig. 07</span><span style="color: #c00000; font-family: "arial" , sans-serif; text-indent: -7.1pt;"> </span><span style="color: #c00000; font-family: "arial" , sans-serif; text-indent: -7.1pt;">- </span><b style="color: #c00000; font-family: Arial, sans-serif; text-indent: -7.1pt;">A
presença majoritária das moças nas aulas da ESCOLA de ARTES do IBA-RS foi e
continua sendo uma constante </b><span style="color: #c00000; font-family: "arial" , sans-serif; text-indent: -7.1pt;"> </span><span style="color: #c00000; font-family: "arial" , sans-serif; text-indent: -7.1pt;">Evidente que existam as variadas explicações
para este fenômeno. Mesmo que elas não levem adiante uma carreira solo nas
ARTES VISUAIS, elas são indispensáveis na sociedade em geral. Mas a sua ação
institucional nas escolas, nas instituições culturais contradizem explicações e
subterfúgios. No entanto, num exame acurado, um número expressivo delas fez das
ARTES VISUAIS um realização pessoal em alto novel e um legado estético
apreciável</span><br />
<br />
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Elas tiveram de aguardar
um lugar institucional no corpo docente o direito ao voto. Mesmo, com este
direito assegurado, entram neste corpo docente timidamente na década de 1940 e
postas bem subalternos. Esta incumbência coube à Cristina Balbão. Ela cursara a
DESENHO na ESCOLA de ARTES, formada em 1938, e, depois, ESCULTURA no CURSO
SUPERIOR de ARTES PLÁSTICAS, concluído em 1942<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJEHIy-uMNJHR3InQhf0JBS3uRaRzqvMDMfUdHA9wmlZZacfTL00f3Pqch1JoYyrbsNc-fqbq3EnpHs1PVXsRAj6sdHEbJvtN5qHha3yVIcNNp_69PVFAuUl33L7bV7Xo4C_DJDG1Ijukj/s1600/020b-Pr%25C3%25A3o+1938+com+Cristina.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="510" data-original-width="800" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJEHIy-uMNJHR3InQhf0JBS3uRaRzqvMDMfUdHA9wmlZZacfTL00f3Pqch1JoYyrbsNc-fqbq3EnpHs1PVXsRAj6sdHEbJvtN5qHha3yVIcNNp_69PVFAuUl33L7bV7Xo4C_DJDG1Ijukj/s400/020b-Pr%25C3%25A3o+1938+com+Cristina.JPG" width="400" /></a></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"><a href="http://www.ufrgs.br/acervoartes/artistas/b/balbao-christina">http://www.ufrgs.br/acervoartes/artistas/b/balbao-christina</a><o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 14.0pt;"> </span><span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 08
- </span><b style="color: #c00000; font-family: Arial, sans-serif;">Christina BALBÃO cursou a </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>ESCOLA</b></span><b style="color: #c00000; font-family: Arial, sans-serif;"> DE ARTES entre 1933-1938 Quando esta ESCOLA foi substituído pelo CURSO
SUPERIOR de BELAS ARTES, ela se matriculou
neste CURSO e onde optou pela ESCULTURA, </b><span style="color: #c00000; font-family: "arial" , sans-serif;"> Na foto acima a vemos modelando o busto de um
veterano da Guerra do Paraguai que servia de modelo. O ambiente é o porão do
primeiro prédio do IBA-RS da Senhor dos Passos, adequado, para este fim, pelo
professor Fernando CORONA </span><b><span style="color: #0070c0; font-family: "arial" , sans-serif; font-size: 16.0pt;"><o:p></o:p></span></b></div>
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<br /></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Alice Ardohain
Soares frequentou e concluiu o CURSO SUPERIOR de ARTES PLÁSTICAS no ano de 1943<o:p></o:p></span></div>
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<br /></div>
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<b><span style="font-family: "arial black" , sans-serif; font-size: 20.0pt; line-height: 150%;">02 – </span></b><span style="font-family: "arial black" , sans-serif; font-size: 20.0pt; line-height: 150%;">As PIONEIRAS</span><br />
<span style="font-family: "arial black" , sans-serif; font-size: 20.0pt; line-height: 150%;"><b></b></span><br />
<span style="font-family: "arial black" , sans-serif; font-size: 20.0pt; line-height: 150%;"><b><o:p></o:p></b></span></div>
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<b><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">02.1 –
ORIGEM das ARTES NOBRES VISUAIS FEMININAS no RIO GRANDE do SUL.<o:p></o:p></span></b></div>
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<br /></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">A NATUREZA não dá SALTOS.
Da mesma maneira as ARTES</span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> NOBRES VISUAIS
FEMININAS também o brotaram e se desenvolveram</span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> das formas elementares e pouco individualizáveis.
Evoluíram para a visibilidade e para afirmações pessoais com nomes de
repercussão social, cultural e estético.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Inicialmente
desarticuladas as sucessivas instituições, associações e os meios sociais
garantiram que as suas obras pudessem ter uma visibilidade, gerar um continuo e
com uma identidade própria e Única.<o:p></o:p></span></div>
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</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcZRwfzwqSAuIvz_xGlTsbimqh2KqgQ1EpVw4HtKwXNPwSkVzn0XgZv9zTuHeRp7ynu2ACPivL7Dz2lDgoIPVrBxJuR9Nbl7bnuo9Qms5pGVqLvu3-hpdYBb6ZyqICXBNBelKSpcNQ_tf0/s1600/09+-+GILDA+MARINHO.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1204" data-original-width="1068" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcZRwfzwqSAuIvz_xGlTsbimqh2KqgQ1EpVw4HtKwXNPwSkVzn0XgZv9zTuHeRp7ynu2ACPivL7Dz2lDgoIPVrBxJuR9Nbl7bnuo9Qms5pGVqLvu3-hpdYBb6ZyqICXBNBelKSpcNQ_tf0/s400/09+-+GILDA+MARINHO.jpg" width="353" /></a></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"><a href="http://profciriosimon.blogspot.com/2013/11/076-isto-e-arte.html">http://profciriosimon.blogspot.com/2013/11/076-isto-e-arte.html</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 09 - <b>Gilda
MARINHO passou rapidamente do papel passivo de modelo para uma ação social,
política e econômica em defesa das classe artística feminina </b>Na imagem
acima a vemos posando para João FAHRION para um quadro que instou na SALÃO da
ESCOLA de ARTES de 1929 e atualmente pertence ao cronista social Paul
GASPAROTTO. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> Este despertar da mulher de agente ativo
necessita ainda estudos e produção de uma literatura própria. Em Porto Alegre seria necessário acompanhar com mais atenção estas
figuras.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Só para citar o glamour
de Gilda MARINHO que ela produziu como
obra própria e disseminou nos periódicos, sias intervenções e associações,
clubes e exposições<o:p></o:p></span></div>
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<br /></div>
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<b><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">02.2 – A
OBRA FEMININA ERUDITA no RIO GRANDE do SUL<o:p></o:p></span></b></div>
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<br /></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">A mulher sul-rio-grandense
começou a se valer cedo da forma escrita tanto na poesia ou na comunicação<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">As açorianas trouxeram
os pedidos manuscritos e ilustrados do “PÃO POR DEUS” como temidos “PASQUINS
anteriores à ERA INDUSTRIAL e FORMA IMPRESSA.<o:p></o:p></span></div>
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</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCOThnki22lJ8NFnkur3hWNzP7uvgnFz0ApsQx-mpD0sqj5pQ0feJjA3TUns6CbIQ9EkDKtVuNi4Bu7qPmXg0TIZ-WwxWPXvDSAYKq_7_90agKgQouAtuN8lrYxgYa3V9Q1UC5STO2pM30/s1600/10+-+-++CAPA+TESE.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="868" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCOThnki22lJ8NFnkur3hWNzP7uvgnFz0ApsQx-mpD0sqj5pQ0feJjA3TUns6CbIQ9EkDKtVuNi4Bu7qPmXg0TIZ-WwxWPXvDSAYKq_7_90agKgQouAtuN8lrYxgYa3V9Q1UC5STO2pM30/s400/10+-+-++CAPA+TESE.jpg" width="216" /></a></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 10 - <b>As
utilitárias LINHA e AGULHA foram sublimadas e
ganharam as ARTES NOBRES na medida da erudição e capacidade de Alice
SOARES, </b>A capa de sua tese de
cátedra indica esta relação entre LINHA e DESENHO . A LINHA - como ENTE PRIMITIVO
-só possui comprimento sem largura e espessura, Ela se materializa no DESENHO
ou é índice do “<b><i>DIO IN NOI</i></b>” como queria
Miguel Ângelo ou O” DESENHO é um COISA MENTAL” como queria Leonard da Vinci.<o:p></o:p></span></div>
<br />
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">No entanto estes
primórdios açorianos não tiverem suportes institucionais no Brasil para dar
continuidade evoluírem e se firmarem por tempo indeterminado. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">O sufocante regime
colonial - comandado exclusivamente por NASCIDOS em PORTUGAL somada à
ESCRAVIDÃO LEGAL - não permitiam e muito menos estimulavam qualquer
manifestação fora daquilo que permitiam a mesa de consciência, a Santa
Inquisição e o “<i>HIHIL OBSTAT</i>” do bispo.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; line-height: 150%;"><span style="font-size: 14pt;">Após a INDEPENDÊNCIA
todas as instituições superiores se concentraram ao redor do TRONO IMPERIAL.
Esta burocracia centralista tinha muitas boas intenções</span><a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: x-small;">[1]</span></span><!--[endif]--></span></a><span style="font-size: 14pt;">,
Porém estas intenções não correspondiam, nem a extensão territorial do Brasil
muito menos às aspiração das mulheres que tivessem algum projeto de seres
artistas visuais<o:p></o:p></span></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">As mulheres das
províncias, como aquelas do RIO GRANDE DO SUL, seguiram as suas condições do
REGIME COLONIAL e supridas pela MÃO ESCRAVA. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "arial black" , sans-serif;"><span style="font-size: 14pt;"><b>02.3 – As </b></span><span style="font-size: 18.6667px;"><b>INTERAÇÕES,</b></span><b style="font-size: 14pt;"> a </b><span style="font-size: 18.6667px;"><b>RECEPÇÃO</b></span><b style="font-size: 14pt;"> e a CONSAGRAÇÃO da OBRA FEMININA no RIO GRANDE do SUL</b></span><span style="font-family: "arial black" , sans-serif; font-size: 18.0pt;"> entre 1930 -1964.<o:p></o:p></span></div>
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<b><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt; line-height: 150%;"> <o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">O regime republicano
quebrou a hegemonia centralista do TRONO IMPERIAL<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Com este regime em ação
lentamente a presença da mulher em SALÕES de ARTES VISUAIS foi num crescendo
sensível. Esta presença tomou corpo e número entre os anos de 1930 e 1964. Paralelamente
surgiram as GALERIAS de ARTE e os colecionadores de suas obras. Já não se
tratava de expor e adquirir obras para a decoração ou ostentação. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; line-height: 150%;"><span style="font-size: 14pt;">No plano nacional.
pintura de Tarsila AMARAL atingiu o
preço mais elevado pago</span><a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: x-small;">[2]</span></span><!--[endif]--></span></a><span style="font-size: 14pt;">
por uma obra de um artista nacional.<o:p></o:p></span></span></div>
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<!--[if !supportFootnotes]--><br clear="all" />
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<!--[endif]-->
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<div id="ftn1">
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<a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[1]</span></span><!--[endif]--></span></a> <b>POVOAR O BRASIL
COM GENTE BOA</b><o:p></o:p></div>
<div class="MsoFootnoteText">
<span style="color: #222222;"><a href="https://naofoinogrito.blogspot.com/2020/03/194-nao-foi-no-grito-marco-de-1820-e.html" target="_blank"><span style="color: #1155cc;">https://naofoinogrito.blogspot.com/2020/03/194-nao-foi-no-grito-marco-de-1820-e.html</span></a></span><o:p></o:p></div>
</div>
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<a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[2]</span></span><!--[endif]--></span></a> ABAPURU <a href="https://www.culturagenial.com/abaporu/">https://www.culturagenial.com/abaporu/</a><o:p></o:p></div>
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</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0IvyG-0C8y91CDWEEIzzpwO11X8V21Ml3znRpeMOfKNezJBPM8GHPD-rSld_gVs_FPfoGJHiuS-YZMmlhXWpk6q17yCkJ304Ftsui01znaOFdrkzIhgUYBHfv9EVY0y7B9PhqZN6SUUBZ/s1600/11+-+Exposi%25C3%25A7%25C3%25A3o+de+Cristina+BALB%25C3%25A3o+22.12.19.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="523" data-original-width="800" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0IvyG-0C8y91CDWEEIzzpwO11X8V21Ml3znRpeMOfKNezJBPM8GHPD-rSld_gVs_FPfoGJHiuS-YZMmlhXWpk6q17yCkJ304Ftsui01znaOFdrkzIhgUYBHfv9EVY0y7B9PhqZN6SUUBZ/s400/11+-+Exposi%25C3%25A7%25C3%25A3o+de+Cristina+BALB%25C3%25A3o+22.12.19.JPG" width="400" /></a></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 11 - </span><b style="color: #c00000; font-family: Arial, sans-serif;">As exposições
de OBRAS de uma </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>ÚNICA</b></span><b style="color: #c00000; font-family: Arial, sans-serif;"> ARTISTA VISUAL
demoraram a ganhar corpo ni Rio Grande do Sul, No entanto a sua presença
era normalmente em </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>SALÕES</b></span><b style="color: #c00000; font-family: Arial, sans-serif;"> de ARTE e com
a presença masculina</b><span style="color: #c00000; font-family: "arial" , sans-serif;"> A imagem da</span><b><span style="font-family: "arial narrow" , sans-serif;"> </span></b><span style="color: #c00000; font-family: "arial" , sans-serif;">exposição de Cristina
BALBÃO mostra o seu público. Neste
público se destaca a de Tasso CORRÊA, João FAHRION e a de Fernando CORONA,
Entre as obras encontra0se uma que pertence atualmente ao acervo da Pinacoteca
Barão de Sato Ângelo do IA-UFRGS<o:p></o:p></span></div>
<div style="text-align: center;">
Veja uma das obras expostas em:</div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"><a href="http://www.ufrgs.br/acervoartes/obras/pintura/pintura/cristina-balbao/view">http://www.ufrgs.br/acervoartes/obras/pintura/pintura/cristina-balbao/view</a><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">O caminho da profissionalização
da mulher, nas ARTES VISUAIS, passava pelo enfrentamento do problema de assumir
a autonomia para deliberar e de decidir nas suas escolhas estéticas. Evidente a cada escolha existe o preço de
perdas econômicas, sociais e de tempo<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Porém não foram poucas aquelas
que aceitaram este desafio e pagaram este preço. O resultado foi uma intensa e
continuada produção e interação com o campo das forças estéticas
sul-rio-grandenses. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; line-height: 150%;"><span style="font-size: 14pt;">A literatura que trata
destes diversos caminhos da profissionalização da mulher sul-rio-grandense nas
Artes Visuais já alentada inclusive de
livros</span><span class="MsoFootnoteReference"> <a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftn1" name="_ftnref1" title=""><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: x-small;">[1]</span></span><!--[endif]--></a></span><span style="font-size: 14pt;">.
Evidente que esta literatura específica não foi sistematizada e muito menos
teve estudos mais comprometidos com o tema. <o:p></o:p></span></span></div>
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<br />
<div id="ftn1">
<div class="MsoFootnoteText">
<a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[1]</span></span><!--[endif]--></span></a> Entre
outros é possível indicar<o:p></o:p></div>
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<b><span style="font-family: "arial" , sans-serif;">BRITES</span></b><span style="font-family: "arial" , sans-serif;">, Blanca <b>---Cerâmica
um caminho de vida: Marianita Linck. </b>Porto Alegre: Imagem da Terra 2017 176
p. ul. Color </span><span style="font-family: "arial narrow" , sans-serif;">ISBN 978-85-89371-22-3<o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , sans-serif;">EXPERIMENTAÇÕES GRAFICAS de NILZA HAERTEL (1941=2014)</span></b><span style="font-family: "arial narrow" , sans-serif;"> Recorte de um
acervo – Maristela SALVATORI e Helena KANAAN(org)Porto Alegre: Marcavisual 2018 144p., il,color 19x 21<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6_JDZblKxqa0cuKUOu4CcmasEcXk0HG6M06QrEyB3iAPd7fiBn6V3ZdaFmwz5SFtkjgGXvzGnO1VQXMC2WrA047iEeHRiwvaGYyq9uYJsa5spQjvVTp6JcJDRO8AQ1TSutExZfhVWSUhs/s1600/12+-+SAL%25C3%2582O+da+ESCOLA+DE+ARTES+do+IBA+RS++-+15.11.1929.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="639" data-original-width="444" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6_JDZblKxqa0cuKUOu4CcmasEcXk0HG6M06QrEyB3iAPd7fiBn6V3ZdaFmwz5SFtkjgGXvzGnO1VQXMC2WrA047iEeHRiwvaGYyq9uYJsa5spQjvVTp6JcJDRO8AQ1TSutExZfhVWSUhs/s400/12+-+SAL%25C3%2582O+da+ESCOLA+DE+ARTES+do+IBA+RS++-+15.11.1929.jpg" width="277" /></a></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"><a href="http://profciriosimon.blogspot.com/2013/11/076-isto-e-arte.html">http://profciriosimon.blogspot.com/2013/11/076-isto-e-arte.html</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 12 -</span><b style="color: #c00000; font-family: Arial, sans-serif;">O </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>SALÃO</b></span><b style="color: #c00000; font-family: Arial, sans-serif;"> de OUTONO de 1925 de Porto Alegre foi um manifestação eminentemente
masculina. Já no SALÃO da ESCOLA de ARTES de 1929 existe um </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>equilíbrio</b></span><b style="color: #c00000; font-family: Arial, sans-serif;"> na ARTES
NOBRES [ 7x7]. Já nas ARTES APLICADAS elas são a maioria absoluta. </b><span style="color: #c00000; font-family: "arial" , sans-serif;">Com a
Revolução de 1930, com o Salão Revolucionário de 1931 e com a conquistar da
VOTO FEMININO existe uma intensa produção feminina nas ARTES VISUAIS .<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Ainda que tímida e quase
imperceptível a presença da mulher nas ARTES VISUAIS ia conquistavam terreno
para as suas questões, como USAR o NOME PRÓPRIO, serem vistas e registradas em
crônicas e sustentarem concepções estéticas mais favoráveis as suas
circunstâncias e modo de produção. Evidente que as questões do colonialismo
estético, as fortes ondas das modas culturais de países hegemônicos, varriam da
cena as iniciativas femininas ainda não consolidadas universalizadas e
definitivas <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Seria IMPOSSÍVEL esperar
a CONQUISTA de TODAS as LIBERDADES de um ÚNICA VEZ, pois a NATUREZA não dá
SALTOS. O que IMPORTA É TER UM PROJETO de AUTONOMIZAÇÃO abraçado e
materializado em todas as frentes desta conquista nas ARTES VISUAIS
SUL-RIO-GRANDENSES.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Em 1930 já existia um perceptível
acúmulo de obras, um lastro de realizações, caminhos específicos e de heranças
deixadas pelas pioneiras das ATES VISUAIS SUL-RIO-GRANDENSES.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">.<o:p></o:p></span></div>
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<b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;">03 – </span></b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;">Um BREVE
QUADRO das HERANÇAS das PIONEIRAS</span><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;"> entre 1930 e 1964</span><b><span style="font-family: "arial black" , sans-serif; font-size: 18.0pt;">.<o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Entre 1930 e 1964 as
sementes plantadas pelas mulheres
pioneiras nas ARTES NOBRES do RIO GRANDE do SUL ganharam caminhos próprios. </span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Numa tentativa de perceber estas diversas
SEMENTES e as HERANÇAS das PIONEIRAS</span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> das </span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">ARTES NOBRES FEMININAS do Rio Grande do Sul </span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">entre 1930 e 1964 são
possíveis as seguintes veredas<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> 01 - A PESQUISA ESTÉTICA FEMININA. 02 –Os recursos de formação e o
associativismo feminino 03 – Os atuais sistemas de consagração 04 –
MAGISTÉRIO - CRONISTAS - HISTORIADORAS e TEÓRICAS das ARTES VISUAIS no RIO
GRANDE do SUL<o:p></o:p></span></div>
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<b><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt; line-height: 150%;">03.1 – As ARTES NOBRES e a PESQUISA ESTÉTICA
FEMININA .<o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">A OBRA é PRIMORDIAL nas
ARTES em geral. Esta OBRA PRIMORDIAL resulta da PESQUISA ESTÉTICA. Ela informará
se é original e digna de receber e carregar o NOME de QUEM a PRODUZIU.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> Destas suas circunstâncias de origem, decorrem
as formas de associativismo e de um mercado de arte. Este mercado não
estranhava mais a presença feminina. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; line-height: 150%;"><span style="font-size: 14pt;">De outro lado ainda não
é extensa a fortuna crítica</span><a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: x-small;">[1]</span></span><!--[endif]--></span></a><span style="font-size: 14pt;">
das ARTISTAS VISUAIS do RIO GRANDE do SUL. Certamente não é culpa delas. Contra
esta fortuna crítica conspiram múltiplos fatores culturais, sociais e
econômicos. A mais próxima é a falta pesquisa séria e consequente, os parcos documentos
e os frágeis arquivos.<o:p></o:p></span></span></div>
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<span style="font-family: "verdana" , sans-serif; line-height: 150%;"><span style="font-size: 14pt;">É novamente pelas mão e
olhos femininos que passa o exame e a sistematização do que de MAIS NOBRE e DURADOURO
se produziu na ARTES VISAIS SUL-RIO-GRANDENSES</span><a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: x-small;">[2]</span></span><!--[endif]--></span></a><span style="font-size: 14pt;"><o:p></o:p></span></span></div>
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<a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[1]</span></span><!--[endif]--></span></a> Fortuna
crítica dos ARTISTAS VISUAIS SUL-RIO-GRANDENSES
<a href="http://profciriosimon.blogspot.com/2015/01/estudos-de-arte-004.html">http://profciriosimon.blogspot.com/2015/01/estudos-de-arte-004.html</a>
<o:p></o:p></div>
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<a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[2]</span></span><!--[endif]--></span></a> <b><span style="font-family: "arial" , sans-serif;">PIETA</span></b><span style="font-family: "arial" , sans-serif;">., Marilene. « <b>A pintura no Rio Grande do Sul (1959-1970)</b>
» Porto Alegre : PUCRS Dissertação, 1988
447 fl.<o:p></o:p></span></div>
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<b><span style="font-family: "arial" , sans-serif;">RAMOS, </span></b><span style="font-family: "arial" , sans-serif;">Paula <i>A modernidade impressa: artistas
ilustradores da Livraria do Globo</i>- Porto Alegre. UFRGS EDITORA, 2016, 656 p
, 1368 il. Color ISBN 978-85-386-0300-9<o:p></o:p></span></div>
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<b><span style="font-family: "arial" , sans-serif;">SILVA, </span></b><span style="font-family: "arial" , sans-serif;">Úrsula Rosa da, et <b> SILVA LORETO</b>, Mari Lúcie. <b>História da arte em Pelotas</b>: a pintura
de 1870 a <o:p></o:p>1980. Pelotas : EDUCAT, 1996 180 p.<o:p></o:p></span></div>
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<b><span style="font-family: "arial" , sans-serif;">VEECK, Marisa
- <i>Caixa Resgatando a Memória</i></span></b><span style="font-family: "arial" , sans-serif;">. Fotos
Fernando ZAGO Porto Alegre : Caixa Econômica Federal, 1998, 163 p.<o:p></o:p></span></div>
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<b><span style="font-family: "arial" , sans-serif;">WEBSTER</span></b><span style="font-family: "arial" , sans-serif;">, Maria Helena et alii. <b>Do passado ao presente</b>.: as artes plásticas no Rio Grande do Sul .
Porto <o:p></o:p> Alegre : Cambona s/d. 83 p.<span style="font-size: 9pt;"><o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUCl1m3yn_tCV7btvSyeE3kFcKAsOz3dCDP09MsKYGUIJpb5HF3DO0w7wiqYh9KNTAgVwa0NknB17qkZr6MGeJLecsLuOb44w5zMQ_8G1jQgyxBCpRMGeV3rPOwh6VY4PI6POyfHSCDy2d/s1600/13+FORTES+Judith+1896+--+Sal%25C3%25A3o+1939+IBA-RS+e+XLVI+Sal%25C3%25A3o+Nacional.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1205" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUCl1m3yn_tCV7btvSyeE3kFcKAsOz3dCDP09MsKYGUIJpb5HF3DO0w7wiqYh9KNTAgVwa0NknB17qkZr6MGeJLecsLuOb44w5zMQ_8G1jQgyxBCpRMGeV3rPOwh6VY4PI6POyfHSCDy2d/s400/13+FORTES+Judith+1896+--+Sal%25C3%25A3o+1939+IBA-RS+e+XLVI+Sal%25C3%25A3o+Nacional.jpg" width="301" /></a></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"><a href="http://profciriosimon.blogspot.com/2018/05/230-estudos-de-arte.html">http://profciriosimon.blogspot.com/2018/05/230-estudos-de-arte.html</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig.13 -</span><b style="color: #c00000; font-family: Arial, sans-serif;">Esta
obra de Judith FORTES foi a leilão recentemente na Suíça, Adquirida no Rio de Janeiro num </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>SALÃO</b></span><b style="color: #c00000; font-family: Arial, sans-serif;"> OFICIAL de ARTES promovido pela ENBA. Esta PINTURA é um índice da presença, da conservação e da
circulação de uma OBRA de ARTE </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>AUTÊNTICA</b></span><b style="color: #c00000; font-family: Arial, sans-serif;"> que permanece e que continua a sua
peregrinação mundo afora </b><span style="color: #c00000; font-family: "arial" , sans-serif;">Evidente isto não seria possível sem um esforço,
dedicação e ilustração da inteligência, dos
sentimentos e da vontade da AUTORA da OBRA PRIMORDIAL</span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Porém tudo isto seria
impossível sem uma atualização da inteligência estética para não reinventar a
roda Como OBRA de ARTE SEMPRE FOI PRIMORDIAL impõe-se a PESQUISA ESTÉTICAS e a
PRODUÇÃO de ARTE coerente com o seu MODO de VER o LUGAR, a SOCIEDADE e sentir o
TEMPO.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwHrAUxtnHNFPFcbIOuY2K-4atvtFdc-3oD7cOQuMP0S6xd4v5HPlrhEULQkSCMoHU4zQ2ERju5kGlRCN-Ho4WrkyEEHziAS-I05eeUVsgA9WebupL8fUnJjnggp2fU-EAOqFrUU6QVYM9/s1600/14++-+Alice-Soares-226x300.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="678" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwHrAUxtnHNFPFcbIOuY2K-4atvtFdc-3oD7cOQuMP0S6xd4v5HPlrhEULQkSCMoHU4zQ2ERju5kGlRCN-Ho4WrkyEEHziAS-I05eeUVsgA9WebupL8fUnJjnggp2fU-EAOqFrUU6QVYM9/s320/14++-+Alice-Soares-226x300.jpg" width="241" /></a></div>
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<span style="font-family: "arial narrow" , sans-serif; mso-bidi-font-family: Arial; mso-fareast-language: PT-BR;"><a href="http://profciriosimon.blogspot.com/2017/11/218-estudos-de-arte.html">http://profciriosimon.blogspot.com/2017/11/218-estudos-de-arte.html</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 14 -</span><b style="color: #c00000; font-family: Arial, sans-serif;">A
produção silenciosa e individual das ARTES VISUAIS NOBRES condena o artista a
uma ascese onde ele encontra a SI MESMO. </b><span style="color: #c00000; font-family: "arial" , sans-serif;">Na imagem Alice SOARES entregue a esta
ascese de onde resulta a OBRA PRIMORDIAL apta a peregrinar mundo afora distante
de QUEM a criou, assinou e que continua a entregar a sua MENSAGEM no MÍNIMO da
FORMA<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Na PRODUÇÃO de ARTE não
adianta jogar o coração sangrando sobre o balcão do mundo. Só causará repulsa e
pena de quem pratica este ato insano.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Como a “<i>ARTE ESTÁ EM
QUEM PRODUZ</i>” não adianta qualquer insanidade e querer chamar a atenção sobre si
mesma sem este ENTE da ARTISTA - seja homem ou mulher, erudito ou naif – ser
portador de um MODO de SER <o:p></o:p></span></div>
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<b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;">03.2 –Os recursos de formação e o associativismo
feminino<o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">As mulheres PIONEIRAS das
ARTES NOBRES do RIO GRANDE do SUL Cultivaram e transmitiram estas verdades para
aquelas que de fato gostavam de ARTES NOBRES. Os germens do ASSOCIATIVISMO e
formas desta transmissão nasceram ao modo da GUILDAS MEDIEVAIS trazidas para ERA
INDUSTRIAL nas ESCOLAS e nos ateliês de quem produzia arte.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMbGDDirtiL1YREUMYykR50HUcT0OG6bikXBpk16XL8UcUWSpL5aoAu5Y-Uj7-hjnRW7hjDM6gGzQb3lpbEXQTw3YmqCym70-5ZwbTBh8lYcujz7RrN43g2e2qm1AEPrgUwWXzVLNCjlIl/s1600/15_pioneiras_da_arte_gaucha___artistas_alices_credito_gustavo_diehl__ufrgs_arquivo-8877278.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="529" data-original-width="800" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMbGDDirtiL1YREUMYykR50HUcT0OG6bikXBpk16XL8UcUWSpL5aoAu5Y-Uj7-hjnRW7hjDM6gGzQb3lpbEXQTw3YmqCym70-5ZwbTBh8lYcujz7RrN43g2e2qm1AEPrgUwWXzVLNCjlIl/s400/15_pioneiras_da_arte_gaucha___artistas_alices_credito_gustavo_diehl__ufrgs_arquivo-8877278.jpg" width="400" /></a></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"><a href="https://www.jornaldocomercio.com/_conteudo/especiais/reportagem_cultural/2019/10/708377-as-artistas-pioneiras-que-revolucionaram-a-arte-no-rio-grande-do-sul.html">https://www.jornaldocomercio.com/_conteudo/especiais/reportagem_cultural/2019/10/708377-as-artistas-pioneiras-que-revolucionaram-a-arte-no-rio-grande-do-sul.html</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 15 –<b>O atelier compartilhado das duas ALICES ameixa
a ASCESE SOLITÀRIA e permite ter um observador próximo e uma resposta imediata
a projetos, a pesquisa e a obras em andamento.</b> Um artista erudito, como as
duas eram, permite que cada uma preservasse o seu modo de ser, agir e se comunicar</span><span style="font-family: "arial" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "verdana" , sans-serif; font-size: 16.0pt; line-height: 150%;">Judite Fortes</span></b><span style="font-family: "verdana" , sans-serif; line-height: 150%;"><span style="font-size: 16pt;"> o
concluiu em 1922</span><a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftn1" name="_ftnref1" title=""><sup><!--[if !supportFootnotes]--><sup><span style="font-size: x-small;">[1]</span></sup><!--[endif]--></sup></a><span style="font-size: 16pt;">, tendo ingressado em 1916. </span></span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Manteve o seu atelier e
a sua escola em frente ao Instituto de Artes. Como ex-aluna da ESCOLA de </span><span style="font-family: "verdana" , sans-serif; font-size: 16.0pt; line-height: 150%;">ARTES </span><span style="font-family: "verdana" , sans-serif; line-height: 150%;"><span style="font-size: 16pt;">Assim,</span><a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftn2" name="_ftnref2" title=""><sup><!--[if !supportFootnotes]--><sup><span style="font-size: x-small;">[2]</span></sup><!--[endif]--></sup></a><span style="font-size: 16pt;">
ela exerceu o papel de professora substituta em várias ocasiões e de membro das
bancas de final de ano. Em dezembro de 1938 ela deve ter enfrentado um sério
problema profissional no IBA-RS, pois o seu nome não consta entre os docentes
do Curso Superior de ARTES, PLÁSTICAS do IBA-RS</span></span><b><span style="font-family: "verdana" , sans-serif; font-size: 16.0pt; line-height: 150%;"><o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; line-height: 150%;"><span style="font-size: 16pt;">A alternativa de</span><b style="font-size: 16pt;"> Judite Fortes</b><span style="font-size: 16pt;"> foi a Associação Francisco Lisboa que nasceu em
agosto de 1938 e foi a de maior continuidade</span><a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftn3" name="_ftnref3" title=""><sup><!--[if !supportFootnotes]--><sup><span style="font-size: x-small;">[3]</span></sup><!--[endif]--></sup></a><span style="font-size: 16pt;">.
Fundada nove meses após a proclamação do Estado Novo</span><a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftn4" name="_ftnref4" title=""><sup><!--[if !supportFootnotes]--><sup><span style="font-size: x-small;">[4]</span></sup><!--[endif]--></sup></a><span style="font-size: 16pt;">, os
seus integrantes procuravam fazer do seu ofício, como trabalhadores
especializados, a razão de sua união. Essa intenção Kern registrou (1981, f.
113)</span><a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: x-small;">[5]</span></span><!--[endif]--></span></a><span style="font-size: 16pt;">.
</span><i style="font-size: 16pt;">“A Associação Francisco Lisboa foi
fundada com o objetivo de reunir os artistas que se encontram isolados e que
tem dificuldades para se fazer conhecer seus trabalhos</i><span style="font-size: 16pt;">”. Ao acompanhar a nominava
dos seus fundadores constata-se a presença significativa de integrantes do
IBA-RS. A sua primeira formação era constituída por:<o:p></o:p></span></span></div>
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<i><span style="font-family: "verdana" , sans-serif; font-size: 16.0pt;">“um grupo de jovens artistas: João Faria Vianna, Carlos
Scliar, Mário Mônaco, Edla Silva, Nelson Boeira Faedrich e Gaston Hofstetter.
Nesse mesmo ano ingressam Guido Mondin, João Fontana, Arnildo Kuwe Kindler,
João Fahrion. Judith Fortes, José Rasgado Filho, Gustav Epstein, Mário
Berhauser, Júlia Felizardo e Romano Reif.” </span></i><span style="font-family: "verdana" , sans-serif; font-size: 16.0pt;">(KERN. 1981 ff. 112 e 113).<o:p></o:p></span></div>
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<a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[1]</span></span><!--[endif]--></span></a> - Relatório do ano de 1916
de Libindo Ferrás<b><i>{019Relat}<o:p></o:p></i></b></div>
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<a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[2]</span></span><!--[endif]--></span></a> - Relatório do ano de 1916
de Libindo Ferrás<b><i>{019Relat}</i></b><o:p></o:p></div>
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<a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[3]</span></span><!--[endif]--></span></a> - SCARINCI, Carlos «Da
Francisco Lisboa ao Pseudo-Salão Moderno de 1942» in Correio do Povo, <b>Caderno de Sábado</b>, Volume CVI, Ano
VIII, <b> n<sup>o</sup> 606,</b> 08.03.1980, pp 8/9.<o:p></o:p></div>
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<a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[4]</span></span><!--[endif]--></span></a> - Carlos Scarinci escreveu (1980, p.8, col.1) “<i>Os
objetivos da nova entidade não podem ser definidos como uma tomada de posição de classe, mas sua criação
coincide quase com a transformação da Associação Paulista de Belas Artes em
Sindicato dos artistas políticos(1937) que coincide também com as orientações sindicalistas do
Estado Novo recentemente implantado</i>”.<o:p></o:p></div>
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<a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif;">[5]</span></span><!--[endif]--></span></a> <b><span style="font-family: "arial narrow" , sans-serif;">KERN</span></b><span style="font-family: "arial narrow" , sans-serif;">, Maria Lúcia Bastos. «<b>Les
origines de peinture ‘moderne’ au Rio Grande do Sul – Brésil</b>» Paris : <o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif;"> Université de Paris I Panthéon Sorbone,
1981 tese 435 fl.<span style="font-size: 10pt;"><o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk1DIIU8NzFHosRMD6hFX20Zy-LgnzYyq78goIa4g2oC0ImGGTRlD-XtkGIBs6O6kKTtyLxILIps0Xgs7pcXDgJTU6kElyK3cAJNyO_NfXqiOf0DqMBbOP7r3W5PBgGmsS5Ryu2UDc9Cdp/s1600/16EDLA+SILVA+-+1939.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="728" data-original-width="621" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk1DIIU8NzFHosRMD6hFX20Zy-LgnzYyq78goIa4g2oC0ImGGTRlD-XtkGIBs6O6kKTtyLxILIps0Xgs7pcXDgJTU6kElyK3cAJNyO_NfXqiOf0DqMBbOP7r3W5PBgGmsS5Ryu2UDc9Cdp/s400/16EDLA+SILVA+-+1939.jpg" width="340" /></a></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 10.0pt;"><a href="http://profciriosimon.blogspot.com/2011/09/isto-e-arte-007.html">http://profciriosimon.blogspot.com/2011/09/isto-e-arte-007.html</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 16 –<b>A artista Edla HOFSTETTER da SILVA teve a
sua formação superior na ESCOLA de ARTES da IBA-RS que concluiu em 1934 na
mesma turmaa de Olga PARAGASSU . </b>Ela
integrou o grupo fundador da ASSOCIAÇÂO FRANCISCO LISBOA,.como também Gaston HOFSTETTER ambos atuantes no 4º
Distrito de Porto Alegre onde residiam, Durante a II GUERRA MUNDIAL teve de
esconder o nome HOFSTETTER, devido aos
movimentes anti-germânicos, passando a usar e assinar Edla H. da SILVA</span><span style="font-family: "verdana" , sans-serif; font-size: 16pt; text-indent: 7.1pt;"> </span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 16.0pt; line-height: 150%;">Verifica-se
que, na lista acima, que td<b>as</b> <b><u>as</u></b> artist<b><u>as</u></b> frequentaram a Escola de Artes do IBA-RS e ali concluíram o
curso superior. <o:p></o:p></span></div>
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<b><span style="font-family: "arial black" , sans-serif; font-size: 18.0pt;">03.3 – Os
sistemas de consagração</span></b><span style="font-family: "arial black" , sans-serif; font-size: 16.0pt;">
entre 1930 e 1964<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Na medida em que a
PESQUISA ESTÉTICA das ARTES VISUAIS NOBRES FEMININAS se avolumava surgiram um
grande número de GALERIAS de ARTE em todo Rio Grande do Sul. Muitas delas por
iniciativa de mulheres ilustradas e competentes no MERCADO de ARTE.
Simetricamente os colecionares destas obras deram suporte econômico tanto para
as ARTISTAS como para estas GALERIAS mediadoras.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; line-height: 150%;"><span style="font-size: 14pt;">De outro lado a sua
presença nos SALÕES CONSAGRATÓRIOS </span><a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: x-small;">[1]</span></span><!--[endif]--></span></a><span style="font-size: 14pt;">
se tornava cada vez mais qualificada e expressiva.<o:p></o:p></span></span></div>
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<b><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">03.4 –
MAGISTÉRIO - CRONISTAS - HISTORIADORAS e TEÓRICAS das ARTES VISUAIS no RIO
GRANDE do SUL<o:p></o:p></span></b></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Uma das razões dos
cursos superiores, com sede no Rio Grande do Sul, foi a formação local de agentes
capacitados para as funções públicas. Nas ARTES VISUAIS não foi diferente, O
grande contingente dos formandos da ESCOLA de ARTES, e depois do CURSO SUPERIOR
de ARTES PLÁSTICAS foram os exercícios das funções públicas e particulares, em
especial no magistério.<o:p></o:p></span></div>
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<a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">[</span><span style="font-family: "times new roman" , serif;">1]</span></span><!--[endif]--></span></a> <b><span style="font-family: "arial narrow" , sans-serif;">KRAWCZYK </span></b><span style="font-family: "arial narrow" , sans-serif;">, Flavio <b>O espetáculo da
legitimidade: os salões de artes plásticas em Porto Alegre 1875-1995</b> Porto
Alegre: programa de Pós Graduação em Artes Visuais do Instituto de Artes da
UFRGS Dissertação orientação Avamcini, José Augusto Costa, 1997, 416 –
Bibliografia fls 387-416 <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPpTHzsR7WkKnU-Nb26Bkyj_ZXT0E3vMCkK_DlopepLq6huevsYZnePxi6DJVLkcnOSitBs6HSzhAox0IZv-j_q922_zlvBA4eGOpuj2Bz-e7W_gctb94qcdi5Bsj0o_VmJy9GBvdGlD5A/s1600/17++-+Olga+Paraguassu+e+o+autorem+1995.TIF" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1110" data-original-width="782" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPpTHzsR7WkKnU-Nb26Bkyj_ZXT0E3vMCkK_DlopepLq6huevsYZnePxi6DJVLkcnOSitBs6HSzhAox0IZv-j_q922_zlvBA4eGOpuj2Bz-e7W_gctb94qcdi5Bsj0o_VmJy9GBvdGlD5A/s400/17++-+Olga+Paraguassu+e+o+autorem+1995.TIF" width="281" /></a></div>
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<span style="color: #c00000; font-family: "arial" , sans-serif;">Fig. 17 </span><b style="color: #c00000; font-family: Arial, sans-serif;"> Olga PARAGUASSU com o autor no dia da
inauguração do ATELIER de ARTES da Colégio de </b><span style="color: #c00000; font-family: "arial" , sans-serif;"><b>APLICAÇÃO</b></span><b style="color: #c00000; font-family: Arial, sans-serif;">, que recebeu o seu
nome. </b><span style="color: #c00000; font-family: "arial" , sans-serif;">Nesta ocasião comentou que surpreendia os seus médicos ao descrever
com perfeição e detalhes os músculos e
os ossos do seu corpo graças ao ensinamentos e às bancas das aulas da ANATOMIA
ARTÍSTICA que havia recebido da ESCOLA de ARTES do IBA-RS.</span><span style="font-family: "arial" , sans-serif; font-size: 14.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Entre tantas tornou-se legendária
a educadora Olga Paraguassu <a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 14pt;">[1]</span></span><!--[endif]--></span></a>
que, após peregrinar por diversas escolas criou o ATELIER de ARTES VISUAIS do COLÉGIO de APLICAÇÃO da UFRGS. Vale o registro
de Eloy TERRA (2000. (pp 45-46) um dos seus ex-alunos:<o:p></o:p></span></div>
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<i><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">A professora Olga
PARAGUASSU era detalhista, exigente, organizada e organizadora. Suas aulas de
desenho eram, acima de tudo, aulas de racionalização. Ela nos ensinava que cada
coisa deve ocupar u espaço proporcional ao se tamanho. Seja uma figura plana,
seja um objeto com volume....Certa feito... me dei conta que a folha era
pequena demais para o desenho que eu pretendia fazer. Foi ai que dona Olga
–como era seu costume – piscou os olhos, sorriu e fez logo um cara severa: ”Vê
se bota isto na sua cabeça. Cada coisa deve ocupar um espaço proporcional ao
seu tamanho. E isto vale para tudo na vida. Antes de assumir um compromisso, vê
se tu tens condições de cumprir”<o:p></o:p></span></i></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Olga Paraguassu
formou-se, no ano de 1934, na ESCOLA de ARTES do IBA-RS Ali teve Libindo FERRÁS
e Francis PELICHEK como mestres e um grande número de expressões culturais e
científicas que constituíam as bancas examinadores para a progressão nos
diversos cursos. Em 1935 conclui o seu aperfeiçoamento e habilitação como
professora. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">No entanto seria
necessário pesquisar e socializar a imensa rede de artista, docentes,
intelectuais, empreendedoras que se valeram do degrau da sua formação superior
especifica em ARTES VISUAIS para acreditarem em si mesmas elevar adiante desta
firmação. É o caso de </span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Edla Hofstätter da Silva</span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"> - </span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">colega de turma de Olga – uma das fundadoras da benemérita ASSOCIAÇÃO
FRANCISCO LISBOA</span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<b><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt; line-height: 150%;">CONCLUSÕES</span></b><span style="font-family: "arial black" , sans-serif; font-size: 14.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">A grande lição, que as
ARTISTAS PIONEIRAS deixaram, foi a PROPORÇÃO de sua OBRA nas ARTES VISUAIS
NOBRES do RIO GRANDE do SUL Elas não queriam fragmentar este CAMPO de PODERES
SIMBÓLICOS, se apropriar de segmentos e personalizar territórios e forças.
Interagiram sem levar adiante o projeto de uma ESCOLA, um ACADEMIA FEMININA ou
uma ASSOCIAÇÃO separada, ainda que ali eram maioria. Para tanto educaram
gerações de moças capazes de demonstrar com o seu próprio talento de “ A ARTE ESTÁ
EM QUEM PRODUZ”<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">Ao concluir a presente e
despretensiosa postagem, é uma minúscula homenagem pessoal e uma retribuição
mínima pelas gigantescas contribuições que este escriba recebeu das ARTISTAS e
das OBRAS ARTES VISUAIS NOBRES do RIO GRANDE do SUL. Elas agiram de uma forma
discreta, silenciosa e eficaz para constituir uma CONSCIÊNCIA COLETIVA
sul-rio-grandense, brasileira e universal.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt; line-height: 150%;">FONTES BIBLIOGRÁFICAS</span><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;"><o:p></o:p></span></div>
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<b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">ARTISTAS PROFESSORES da UFRGS</span></b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;"> - obras do
acervo da Pinacoteca Barão de Santo Ângelo. </span><span lang="FR" style="font-family: "arial" , sans-serif; font-size: 9.0pt;">Porto Alegre : Ed. UFRGS, 2002. 127 p.<o:p></o:p></span></div>
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<b><span lang="FR" style="font-family: "arial" , sans-serif; font-size: 9.0pt;">BORSA CATTANI</span></b><span lang="FR" style="font-family: "arial" , sans-serif; font-size: 9.0pt;">, Icleia Maria. « <b>Lieux et milieu de la peiture ‘moderniste’ au Bresil
(1917 –1929)</b> » <o:p></o:p></span></div>
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<span lang="FR" style="font-family: "arial" , sans-serif; font-size: 9.0pt;"> </span><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">Paris : Sorbonne</span><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">. 1980 – tese – 401 fls.<o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">-----</span><b><i><span style="font-family: "arial narrow" , sans-serif; font-size: 9.0pt;"> Icleia Borasa Cattani</span></i></b><b><span style="font-family: "arial narrow" , sans-serif; font-size: 9.0pt;"> - </span></b><span style="font-family: "arial narrow" , sans-serif; font-size: 9.0pt;">organização Aguinaldo Farias Rio de Janeiro :
FUNARTE, 2004, 160 p. il<o:p></o:p></span></div>
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<b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">BRITES</span></b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">, Blanca <b>---Cerâmica
um caminho de vida: Marianita Linck. </b>Porto Alegre: Imagem da Terra 2017 176
p. ul. Color </span><span style="font-family: "arial narrow" , sans-serif; font-size: 9.0pt;">ISBN 978-85-89371-22-3<o:p></o:p></span></div>
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<b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">CORRÊA</span></b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">, Norton F. </span><b><span style="font-family: "arial" , sans-serif; font-size: 10.0pt;">Batuque no Rio Grande do Sul</span></b><span style="font-family: "arial" , sans-serif; font-size: 10.0pt;">- antropologia de uma religião afro
rio-grandense. São Luís - Maranhão : CA-Cultura & Arte, 2008, 295 </span><span style="font-family: "arial" , sans-serif; font-size: 11.0pt;">p</span><b><span style="font-family: "arial" , sans-serif; font-size: 10.0pt;"><o:p></o:p></span></b></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 9.0pt;">EXPERIMENTAÇÕES GRAFICAS de NILZA HAERTEL (1941=2014)</span></b><span style="font-family: "arial narrow" , sans-serif; font-size: 9.0pt;"> Recorte de
um acervo – Maristela SALVATORI e Helena KANAAN(org)Porto Alegre: Marcavisual 2018 144p., il,color 19x 21<o:p></o:p></span></div>
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<b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">KERN</span></b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">, Arno Alvarez.
<b>Antecedentes indígenas. </b>Porto
Alegre : UFRGS, 1994, 144p.<o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 10.0pt;">KERN</span></b><span style="font-family: "arial narrow" , sans-serif; font-size: 10.0pt;">, Maria Lúcia
Bastos. «<b>Les origines de peinture
‘moderne’ au Rio Grande do Sul – Brésil</b>» Paris : <o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 10.0pt;"> Université de Paris I Panthéon Sorbone,
1981 tese 435 fl.<o:p></o:p></span></div>
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<br /></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 10.0pt;">KRAWCZYK </span></b><span style="font-family: "arial narrow" , sans-serif; font-size: 10.0pt;">, Flavio <b>O
espetáculo da legitimidade: os salões de artes plásticas em Porto Alegre
1875-1995</b> Porto Alegre: programa de Pós Graduação em Artes Visuais do
Instituto de Artes da UFRGS Dissertação orientação Avamcini, José Augusto
Costa, 1997, 416 – Bibliografia fls 387-416 <o:p></o:p></span></div>
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<b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">LAYTANO</span></b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;"> Dante de
(1908-2000). - <b>Festa de Nossa Senhora
dos Navegantes</b> Estudo de uma tradição das populações Afro-Brasileiras de Porto Alegre. Porto
Alegre: UNESCO- Instituto Brasileiro Ciência e Cultura- Comissão Estadual de
Folclore do Rio Grande do Sul - 6º Vol.
1955, 128 p. il<o:p></o:p></span></div>
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<b><span style="font-family: "arial" , sans-serif; font-size: 10.0pt;">NOGUEIRA, </span></b><span style="font-family: "arial" , sans-serif; font-size: 10.0pt;">Isabel Porto – <i>El pianismo em la
ciudad de pelotas (RS-Brasil) conservatório de Música 1918 a 1968 uma lectura
histórica, msicológica y antropológica</i>- Madrid: Universidad Autônoma de
Madrid – tes 2000 317 fl.il<o:p></o:p></span></div>
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<b><span style="font-family: "arial" , sans-serif; font-size: 10.0pt;">----------</span></b><span style="font-family: "arial" , sans-serif; font-size: 10.0pt;">História
iconográfica do Conservatório de Pelotas- Poaro Alegre: Palotti 2005, 283 p. il<o:p></o:p></span></div>
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<b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">PESAVENTO</span></b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">. Sandra Jatahy. <b>História da indústria sul-rio-grandense. </b>Guaiba : RIOCEL, 1985, 123
p.<o:p></o:p></span></div>
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<b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">PIETA</span></b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">., Marilene. « <b>A
pintura no Rio Grande do Sul (1959-1970)</b> » Porto Alegre : PUCRS Dissertação, <o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 9.0pt;"> 1988
447 fl.<o:p></o:p></span></div>
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<b><span style="font-family: "arial" , sans-serif; font-size: 10.0pt;">RAMOS, </span></b><span style="font-family: "arial" , sans-serif; font-size: 10.0pt;">Paula <i>A modernidade impressa: artistas
ilustradores da Livraria do Globo</i>- Porto Alegre. UFRGS EDITORA, 2016, 656 p
, 1368 il. Color ISBN 978-85-386-0300-9<o:p></o:p></span></div>
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<b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">SILVA, </span></b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">Úrsula Rosa da, et <b> SILVA LORETO</b>, Mari Lúcie. <b>História da arte em Pelotas</b>: a pintura
de 1870 a <o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 9.0pt;"> 1980. Pelotas : EDUCAT, 1996 180 p.<o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 9.0pt;">SOARES</span></b><span style="font-family: "arial narrow" , sans-serif; font-size: 9.0pt;"> Alice Ardohain (1917-2005) <b>LINHA - FUNDAMENTO DO DESENHO LINHA -
FUNDAMENTO DO DESENH</b>O Linha: Definição Simbolismo Expressão artística Tese
de concurso para o provimento efetivo da cadeira de Desenho, dos Cursos de
Pintura e Escultura do Instituto de Artes do Rio Grande do Sul Porto Alegre,
1961</span><span style="font-family: "arial narrow" , sans-serif; font-size: 9.0pt;">50 p.<o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 8.0pt;"><a href="http://sabi.ufrgs.br/F/TNVFR1DVNEIDF1PAYKSBPQTKCXI7R37NLYKVNDNG21U5HQBXYQ-01700?func=full-set-set&set_number=068841&set_entry=000051&format=999">http://sabi.ufrgs.br/F/TNVFR1DVNEIDF1PAYKSBPQTKCXI7R37NLYKVNDNG21U5HQBXYQ-01700?func=full-set-set&set_number=068841&set_entry=000051&format=999</a><o:p></o:p></span></div>
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<b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">TERRA </span></b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">Eloy <b>Lições de vida</b> in Rosa Lima, Otavio er
LEDUR, Paulo Flavio <b><i>JULINHO – 100 anis de história- </i></b>Porto Alegre: AGE 2.00 pp44-47<o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 21.3pt; mso-hyphenate: auto; text-align: justify; text-indent: -21.3pt;">
<b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">VEECK,
Marisa - <i>Caixa Resgatando a Memória</i></span></b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">. Fotos
Fernando ZAGO Porto Alegre : Caixa Econômica Federal, 1998, 163 p.</span><br />
<span style="font-family: "arial" , sans-serif; font-size: 9.0pt;"></span><br />
<span style="font-family: "arial" , sans-serif; font-size: 9.0pt;"></span><br />
<span style="font-family: "arial" , sans-serif; font-size: 9.0pt;"><o:p></o:p></span></div>
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<b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">WEBSTER</span></b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">, Maria Helena et alii. <b>Do passado ao presente</b>.: as artes plásticas no Rio Grande do Sul .
Porto <o:p></o:p></span></div>
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<span style="font-family: "arial" , sans-serif; font-size: 9.0pt;"> Alegre : Cambona s/d. 83 p.<o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt; line-height: 150%;">FONTES NUMÉRICAS DIGITAIS<o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">Para
o conceito de ARTES NOBRES ver CARTA de LE BRETON ao CONDE da BARCA<o:p></o:p></span></b></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 11pt; line-height: 150%;"><a href="http://profciriosimon.blogspot.com.br/2016/02/151-logistica-em-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2016/02/151-logistica-em-estudos-de-arte.html</a><o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">ICONOGRAFIA de OBRAS das ARTES VISUAIS INDÍGENAS</span></b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">– ICONOGRAFIA
INDÍGENA SUL-RIO-GRANDENSE. 177<o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"><a href="http://profciriosimon.blogspot.com.br/2016/08/177-iconografia-indigena-sul-rio.html">http://profciriosimon.blogspot.com.br/2016/08/177-iconografia-indigena-sul-rio.html</a>
<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">UMA OBRA de ARTES VISUAIS
AFRO-SUL-RIO-GRANDENSES</span></b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"> ICONOGRAFIA AFRO SUL-RIO-GRANDENSE179 –</span><b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"><o:p></o:p></span></b></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt; line-height: 150%;"><a href="http://profciriosimon.blogspot.com.br/2016/08/179-iconografia-afro-sul-rio-grandense.html">http://profciriosimon.blogspot.com.br/2016/08/179-iconografia-afro-sul-rio-grandense.html</a>
<o:p></o:p></span></b></div>
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<br /></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt; line-height: 150%;">SALÃO da ESCILA de ARTES e 1929<o:p></o:p></span></b></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"><a href="http://profciriosimon.blogspot.com/2013/11/076-isto-e-arte.html">http://profciriosimon.blogspot.com/2013/11/076-isto-e-arte.html</a><o:p></o:p></span></div>
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<br /></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">JUSTINA POLHMAN KERNER<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"><a href="http://www.ufrgs.br/acervoartes/artistas/k/kerner-justina">http://www.ufrgs.br/acervoartes/artistas/k/kerner-justina</a><o:p></o:p></span></b></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">JUDITH FORTES<span style="color: #c00000;">. </span>230 –
ESTUDOS de ARTE<o:p></o:p></span></b></div>
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<span style="color: #c00000; font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"><a href="http://profciriosimon.blogspot.com.br/2018/05/230-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2018/05/230-estudos-de-arte.html</a><o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">ALICE
SOARES PENSANDO o DESENHO0-218 – ESTUDOS
de ARTE<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt; line-height: 150%;"><a href="http://profciriosimon.blogspot.com.br/2017/11/218-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/11/218-estudos-de-arte.html</a><o:p></o:p></span></b></div>
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<span style="color: #c00000; font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">Ione SALDANHA (1919-2001<o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"><a href="https://www.escritoriodearte.com/artista/ione-saldanha">https://www.escritoriodearte.com/artista/ione-saldanha</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">+ <a href="http://enciclopedia.itaucultural.org.br/pessoa9565/ione-saldanha">http://enciclopedia.itaucultural.org.br/pessoa9565/ione-saldanha</a><o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">Vera TORMENTA<o:p></o:p></span></div>
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<span style="color: #c00000; font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"><a href="https://gauchazh.clicrbs.com.br/cultura-e-lazer/noticia/2016/02/documentario-narra-trajetoria-da-artista-vera-tormenta-que-trocou-o-rio-pelo-interior-do-rs-4968545.html">https://gauchazh.clicrbs.com.br/cultura-e-lazer/noticia/2016/02/documentario-narra-trajetoria-da-artista-vera-tormenta-que-trocou-o-rio-pelo-interior-do-rs-4968545.html</a><o:p></o:p></span></div>
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<br /></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"> Maria Annita Tollens Linck ARTE em PORTO
ALEGRE e a “HISTÓRIA em MIGALHAS” - 09.06<o:p></o:p></span></b></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"><a href="http://profciriosimon.blogspot.com/2010/10/arte-em-porto-alegre-e-historia-em_21.html">http://profciriosimon.blogspot.com/2010/10/arte-em-porto-alegre-e-historia-em_21.html</a><o:p></o:p></span></b></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">REGINA SILVEIRA :
firmeza, porém com ternura. .....em <span style="color: red;">18.03.2011</span><o:p></o:p></span></b></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"><a href="http://profciriosimon.blogspot.com/2011/03/isto-e-arte-01.html">http://profciriosimon.blogspot.com/2011/03/isto-e-arte-01.html</a><o:p></o:p></span></b></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">ESTILO : COERÊNCIA da
ORGANIZAÇÃO. ISTO é ARTE – 049<o:p></o:p></span></b></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"><a href="http://profciriosimon.blogspot.com.br/2012/10/isto-e-arte-049.html">http://profciriosimon.blogspot.com.br/2012/10/isto-e-arte-049.html</a><o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">ARMINDA LOPES na busca do ESPLENDOR da VERDADE</span></b><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;">192 – ESTUDOS de
ARTE</span><span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"><o:p></o:p></span></div>
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<span style="font-family: "arial narrow" , sans-serif; font-size: 11.0pt;"><a href="http://profciriosimon.blogspot.com.br/2016/11/192-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2016/11/192-estudos-de-arte.html</a><o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , sans-serif;">ARTISTAS PIONEIRAS nas ARTES
VISUAIS do RIO GRANDE do SUL<o:p></o:p></span></b></div>
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<a href="https://www.jornaldocomercio.com/_conteudo/especiais/reportagem_cultural/2019/10/708377-as-artistas-pioneiras-que-revolucionaram-a-arte-no-rio-grande-do-sul.html">https://www.jornaldocomercio.com/_conteudo/especiais/reportagem_cultural/2019/10/708377-as-artistas-pioneiras-que-revolucionaram-a-arte-no-rio-grande-do-sul.html</a><o:p></o:p></div>
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<span style="font-family: "arial black" , sans-serif;">AS
ARTISTAS e o ATELIER DE FERNANDO CORONA<o:p></o:p></span></div>
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<a href="http://dezenovevinte.net/800/tomo4/index_arquivos/800_IV_an.pdf">http://dezenovevinte.net/800/tomo4/index_arquivos/800_IV_an.pdf</a><o:p></o:p></div>
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<b><span style="font-family: "arial narrow" , sans-serif;">POVOAR O BRASIL COM GENTE BOA</span></b><span style="font-family: "arial narrow" , sans-serif;"><o:p></o:p></span></div>
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<span style="color: #222222; font-family: "arial narrow" , sans-serif; mso-bidi-font-family: Arial; mso-fareast-language: PT-BR;"><a href="https://naofoinogrito.blogspot.com/2020/03/194-nao-foi-no-grito-marco-de-1820-e.html" target="_blank"><span style="color: #1155cc;">https://naofoinogrito.blogspot.com/2020/03/194-nao-foi-no-grito-marco-de-1820-e.html</span></a><o:p></o:p></span></div>
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<b><span style="font-family: "arial narrow" , sans-serif;">Fortuna crítica dos
ARTISTAS VISAUS SUL-RIO-GRANDEN</span></b>SES
<a href="http://profciriosimon.blogspot.com/2015/01/estudos-de-arte-004.html">http://profciriosimon.blogspot.com/2015/01/estudos-de-arte-004.html</a><o:p></o:p></div>
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<b><span style="font-family: "verdana" , sans-serif; font-size: 14.0pt; line-height: 150%;">.<o:p></o:p></span></b></div>
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<a href="file:///D:/284%20MULHRES%20na%20ARTES%20do%20RS/0-284%20MULHERES%20na%20ARTE%20RS%20(Salvo%20Automaticamente)%20b.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "times new roman" , serif; font-size: 12.0pt;">[1]</span></span><!--[endif]--></span></a> OLGA
PARAGUASSU <b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">TERRA </span></b><span style="font-family: "arial" , sans-serif; font-size: 9.0pt;">Eloy <b>Lições de vida</b> in Rosa Lima, Otavio er
LEDUR, Paulo Flavio <b><i>JULINHO – 100 anis de história- </i></b>Porto Alegre: AGE 2.00 pp44-47<o:p></o:p></span></div>
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<span style="font-family: "arial black" , sans-serif; font-size: 14.0pt;">.</span><o:p></o:p></div>
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<br />Prof. Círio Simonhttp://www.blogger.com/profile/06566693954184732946noreply@blogger.com0tag:blogger.com,1999:blog-1362905750550965943.post-73312635948045545012020-03-07T10:48:00.003-08:002020-08-27T15:46:59.266-07:00282 –ISTO é ARTE -<div style="text-align: center;">
<span face=""><span style="font-size: x-large;">1938: o ano de
renovação docente do Instituto de Artes:
a trajetória de José Lutzenberger
e de Fernando Corona</span><span><o:p></o:p></span></span></div>
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. LABORATÓRIO DE HISTÓRIA das ARTES VISUAIS do RIO GRANDE do
SUL<o:p></o:p></div>
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<b>2º Encontro – 25/03/2020<o:p></o:p></b></div>
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1ª Palestra
(14:30 – 15:30): Os primeiros anos da Chico Lisboa (1938-1964)). Arnoldo
Doberstein<o:p></o:p></div>
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2ª Palestra
(15:30 – 16:30): 1938: <b>e adiado devido ao CORONAVÍRUS.</b><br />
<b>Tema: </b>o ano de renovação docente do Instituto de Artes. A trajetória de José Lutzenberger e Fernando Corona. (prof. Círio
Simon)<o:p></o:p></div>
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<b><span face="" style="color: #0070c0;">00–</span></b><b><span face=""> </span></b><b><span face="">PROPÓSITO
GERAL e CIRCUNSTÂNCIAS</span></b><span face=""> <b>-</b></span><span face=""><o:p></o:p></span></div>
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<b><span face="">
<span style="color: #0070c0;">01–</span></span></b><b><span face=""> </span></b><span face="">1938: o ano de
renovação docente do Instituto de Artes</span><b><span face="">.<o:p></o:p></span></b></div>
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<b><span face=""> </span></b><b><span face="" style="color: #0070c0;">01.1.–</span></b><b><span face=""> </span></b><b><span face=""> O QUE SE SUPEROU no IBA-RS em 1938 . </span></b><span face="">- </span><b><span face="" style="color: #0070c0;">01.2–</span></b><b><span face="">
</span></b><b><span face="">O IBA-RS no PARADIMA UNIVERSITÁRIO</span></b><b><span face="">.</span></b><b><span face=""> </span></b><b><span face=""> <span style="color: #0070c0;">01.3 –</span> </span></b><b><span face="" style="mso-bidi-font-family: Arial; mso-fareast-language: PT-BR;">CONSEQUÊNCIAS e MUDANÇAS entre o ANTIGO e o
NOVO IBA-RS</span></b><b><span face="" style="mso-fareast-language: PT-BR;">.<o:p></o:p></span></b></div>
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<b><span face=""> </span></b><b><span face="" style="color: #0070c0;">01.4 –</span></b><b><span face=""> </span></b><b><span face="" style="mso-bidi-font-family: Arial; mso-fareast-language: PT-BR;">As contribuições de dois profissionais
qualificados das ARTES no NOVO IBA-RS</span></b><b><span face="" style="mso-fareast-language: PT-BR;">.<o:p></o:p></span></b></div>
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<b><span face="" style="color: #0070c0;">02 –</span></b><b><span face=""> </span></b><span face="">A trajetória de José Lutzenberger</span><b><span face=""><o:p></o:p></span></b></div>
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<b><span face=""> </span></b><b><span face="" style="color: #0070c0; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.0pt; mso-fareast-language: PT-BR;">02.1 –</span></b><b><span face="" style="mso-bidi-font-family: "Arial Black"; mso-bidi-font-size: 14.0pt;"> </span></b><b><span face="" style="mso-bidi-font-family: Arial; mso-bidi-font-size: 14.0pt; mso-fareast-language: PT-BR;">ORIGEM e POSTULADOS ESTÉTICOS de José LUTZENBERGER .</span></b><span face="" style="mso-bidi-font-family: Arial; mso-bidi-font-size: 14.0pt;"> </span><b><span face="" style="color: #0070c0; mso-bidi-font-family: Arial; mso-bidi-font-size: 14.0pt; mso-fareast-language: PT-BR;">02.2 –</span></b><b><span face="" style="mso-bidi-font-family: "Arial Black"; mso-bidi-font-size: 14.0pt;"> </span></b><b><span face="" style="mso-bidi-font-family: Arial; mso-bidi-font-size: 14.0pt; mso-fareast-language: PT-BR;"> A OBRA de José LUTZENBERGER no RIO GRANDE do SUL <span style="color: #0070c0;">02.3 –</span></span></b><b><span face="" style="mso-bidi-font-family: "Arial Black"; mso-bidi-font-size: 14.0pt;"> INTERAÇÕES </span></b><b><span face="" style="mso-bidi-font-family: Arial; mso-bidi-font-size: 14.0pt; mso-fareast-language: PT-BR;">de José LUTZENBERGER .</span></b><span face="" style="mso-bidi-font-family: Arial; mso-bidi-font-size: 14.0pt;"> </span><b><span face="" style="mso-bidi-font-family: "Arial Black"; mso-bidi-font-size: 14.0pt;">com o
INSTITUTO de BELAS ARTES do RIO GRANDE do SUL.</span></b><b><span face=""> <o:p></o:p></span></b></div>
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<b><span face="" style="color: #0070c0;">03 –</span></b><b><span face="">
</span></b><span face="">A
trajetória de Fernando Corona</span><b><span face="">.<o:p></o:p></span></b></div>
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<b><span face=""> </span></b><b><span face="" style="color: #0070c0;">03.1 –</span></b><b><span face="">
</span></b><b><span face="">A</span></b><b><span face="" style="mso-bidi-font-family: Arial; mso-bidi-font-size: 14.0pt; mso-fareast-language: PT-BR;"> ORIGEM e POSTULADOS ESTÉTICOS</span></b><b><span face="" style="mso-bidi-font-family: "Arial Black"; mso-bidi-font-size: 14.0pt;"> de Fernando CORONA</span></b><b><span face="">. </span></b><b><span face=""> </span></b><b><span face="" style="color: #0070c0;">03.2 –</span></b><b><span face=""> . </span></b><b><span face="" style="mso-bidi-font-family: Arial; mso-bidi-font-size: 14.0pt; mso-fareast-language: PT-BR;">A OBRA </span></b><b><span face="" style="mso-bidi-font-family: "Arial Black"; mso-bidi-font-size: 14.0pt;">de Fernando CORONA</span></b><b><span face="" style="mso-bidi-font-family: Arial; mso-bidi-font-size: 14.0pt; mso-fareast-language: PT-BR;"> o RIO GRANDE do SUL</span></b><b><span face=""> </span></b><b><span face="" style="color: #0070c0;">03.3
–</span></b><b><span face=""> </span></b><b><span face="" style="mso-bidi-font-family: "Arial Black"; mso-bidi-font-size: 14.0pt;">INTERAÇÕES
de Fernando CORONA com o INSTITUTO de BELAS ARTES do RIO GRANDE do SUL</span></b><b><span face=""> <o:p></o:p></span></b></div>
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<b><span face="" style="line-height: 150%;">CONCLUSÕES</span></b><span face="" style="line-height: 150%;"><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheGFvj8mXLptqxq8uaoawSRDDZB5fcHvXqry0jpherCaDTCk20J-__U6gaUXuJnzH6J04DJE-8_gHhc3zB7x0zZcOJb4KmEKpTLybbes8uUitmRm4OhYgmbVeKo4QY70jsIf3nNmVtJCVT/s1600/01+-++-+PROJETO+UNIVERSIDADE+das+ARTES+-+1947+Projeto+de+duplica%25C3%25A7%25C3%25A3o+-azul-.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1175" data-original-width="1600" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheGFvj8mXLptqxq8uaoawSRDDZB5fcHvXqry0jpherCaDTCk20J-__U6gaUXuJnzH6J04DJE-8_gHhc3zB7x0zZcOJb4KmEKpTLybbes8uUitmRm4OhYgmbVeKo4QY70jsIf3nNmVtJCVT/s400/01+-++-+PROJETO+UNIVERSIDADE+das+ARTES+-+1947+Projeto+de+duplica%25C3%25A7%25C3%25A3o+-azul-.JPG" width="400" /></a></div>
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<span face="">Perspectiva de Fernando CORONA Ver maquete da parte construída em <o:p></o:p></span></div>
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<span face=""><a href="http://www.ufrgs.br/acervoartes/obras/escultura/escultura/fernando-corona-9/image_view_fullscreen">http://www.ufrgs.br/acervoartes/obras/escultura/escultura/fernando-corona-9/image_view_fullscreen</a></span><b><span face="" style="mso-fareast-language: PT-BR;"><o:p></o:p></span></b></div>
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<span face="" style="color: #c00000;">Fig. 01 <b>O prédio
do Instituto de BELAS ARTES do Rio Grande o Sul resultou de um projeto
concebido por Fernando Corona ao longo do Estado Novos </b>O que se consegui realizar foi graças ao dois
mil legionários e ação dinâmica e audaciosa de seus idealizadores. Entre eles
esava Joseph LUTZENBERGER e Fernando CORONA que chegou a hipotecar a sua residência
familiar para obter, adianto, um empréstimo da CAIXA ECONÔMICA FEDERAL para
que, ao menos uma parte pudesse atingir os oito andares do prédio da rua Senhor
dos Passos de Porto Alegre. Joseph
LUTZENBERGER foi encarregado e desincumbiu da tarefa de selecionar e indicar a empreiteira<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: #c00000;">[1]</span></span><!--[endif]--></span></a> que entregou o primeiro modulo
do prédio 21 meses, apesar da II Guerra em andamento e com alta dos preços e da
falta dos matérias importados..</span><span face=""><o:p></o:p></span></div>
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<b><span face="" style="color: #0070c0; line-height: 150%;">00–</span></b><b><span face="" style="line-height: 150%;"> PROPÓSITO
GERAL e CIRCUNSTÂNCIAS</span></b><span face="" style="line-height: 150%;"> </span><span face="" style="line-height: 150%;"><o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">A presente postagem
possui o<b> PROPÓSITO GERAL</b> de criar
uma narrativa no contexto das ARTES VISUAIS no limite geográfico do estado do
Rio Grande do Sul. Esta narrativa busca inserir-se no projeto do</span><span face="" style="line-height: 150%;">
LABORATÓRIO DE HISTÓRIA das ARTES VISUAIS do RIO GRANDE do SUL desenvolvido no
MARGS no 1º SEMESTRE de 2020 e a convite da AAMARGS</span><span face="" style="line-height: 150%;"><o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">Presta-se atenção do que
foi possível nas </span><span face="" style="line-height: 150%;">CIRCUNSTÂNCIAS</span><span face="" style="line-height: 150%;"> do </span><span face="" style="line-height: 150%;">ESTADO
NOVO BRASILEIRO</span><span face="" style="line-height: 150%;"> para uma INSTITUIÇÃO de ARTES e para DOIS dos seus DOCENTES. Para tanto
é necessário conhecer o contexto e as personalidades dos seus dois agentes <o:p></o:p></span></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[1]</span></span><!--[endif]--></span></a> <i>Ata da 21ª. reunião
ordinária do Conselho Técnico
Administrativa. .</i>Aos vinte e seis dias do Mês de Setembro de mil novecentos e quarenta e
um<i style="font-size: 8pt;"><o:p></o:p></i></div>
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-spkXFAjuGeiXGVGRgkQlArE0fnWLryP1LipwxgTS47uZXQuoAQWEqlJ_X-OObrQ7UwUcHGeBvgMftT1FC4XTc6x1HnXPs3pEQwYQt525LY6d1IYxL-xRG0SNkhaOzhBbgA12jqL0llIK/s1600/02++-+Diploma+funda%25C3%25A7%25C3%25A3o+da+UPA+em28.11.1934.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="737" data-original-width="1029" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-spkXFAjuGeiXGVGRgkQlArE0fnWLryP1LipwxgTS47uZXQuoAQWEqlJ_X-OObrQ7UwUcHGeBvgMftT1FC4XTc6x1HnXPs3pEQwYQt525LY6d1IYxL-xRG0SNkhaOzhBbgA12jqL0llIK/s400/02++-+Diploma+funda%25C3%25A7%25C3%25A3o+da+UPA+em28.11.1934.jpg" width="400" /></a></b></div>
<b> </b><span face="" style="color: #c00000;">Fig. 02</span><span face="" style="color: #c00000;"> </span><b style="color: #c00000; font-family: "arial narrow", sans-serif;">A
Universidade Brasileira teve um série do instituições temporãs com este título.
A universidade para todo território brasileiro surgiu por força do Decreto de
nº 19.851 do dia11 de abril de 1931<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><b><span style="color: #c00000;">[1]</span></b></span></span></a></b><span face="" style="color: #c00000;">.
Em Porto havia duas universidades temporãs (Medicina e Engenharia) que cederam
passo par surgimento da UNIVERSIDADE de Poro Alegre no dia </span><span face="" style="color: #c00000;"> </span><span face="" style="color: #c00000;">20 de novembro de 1934</span><a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn2" name="_ftnref2" style="font-family: "arial narrow", sans-serif;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="color: #c00000;">[2]</span></span></span></a><span face="" style="color: #c00000;">. O INSTITUTO de BELAS
ARTES integrava o elenco das seis cursos superiores para formar esta
Universidade conforme </span><span face="" style="color: #c00000;"> </span><span face="" style="color: #c00000;">Decreto 19.851</span><br />
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<span face="" style="line-height: 150%;">Não é de se estranhar a
rápida ENTROPIA de suas memórias, devido às circunstâncias à uma outra
SOCIEDADE de um outro TEMPO apesar desta narrativa dar-se no mesmo LUGAR. Para
esconjurar esta ENTROPIA as memórias dos DOIS DOCENTES de ARTES e da
INSTITUIÇÃO são dignas e merecem uma nova NARRATIVA.
Merecem devido à carga das expressões da AUDÁCIA, da ENERGIA destes DOIS
DOCENTES de ARTES e da COERÊNCIA da INSTITUIÇÃO com o seu TEMPO, SOCIEDADE e com o seu LUGAR.<o:p></o:p></span></div>
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<div class="MsoFootnoteText">
<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[1]</span></span><!--[endif]--></span></a> Decreto nº 19851 de 11.04.1931 <a href="http://www.planalto.gov.br/ccivil_03/decreto/1930-1949/D19851.htm">http://www.planalto.gov.br/ccivil_03/decreto/1930-1949/D19851.htm</a><o:p></o:p></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[2]</span></span><!--[endif]--></span></a> Decreto
Est. Nº 5.755 <b>20.
11. 1934-</b>cria a Universidade de Porto Alegre (UPA). Conta
com três faculdades, duas escolas e um único Instituto Decreto Est. Nº 5.758 <b>28. 11. 1934 </b>modifica
o de nº 5.755<br />
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<o:p> </o:p></div>
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<br />
<b><span face="" style="color: #0070c0;">01–</span><span face=""> </span></b><span face="">1938: o ano de renovação docente do Instituto de
Artes</span><b><span face="">.</span></b>
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheGhHrR1YAzTDMR9bHl3s3mYCF4zpNNE594tzpKuKi4WSP8I3zWJSuGQ2T0yOiCmUnhzR2YbDealvczDjR6lVUlMpyKFu5EErN_sclneAa6bJfmMJFpLcx-4YV3kNGBnl-i1Rp4kFHXqYB/s1600/03+-+CONGREGA%25C3%2587%25C3%2582O+do+IBA+Di%25C3%25A1rio+de+Noticias+em+08.01.+1939.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="674" data-original-width="1600" height="167" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheGhHrR1YAzTDMR9bHl3s3mYCF4zpNNE594tzpKuKi4WSP8I3zWJSuGQ2T0yOiCmUnhzR2YbDealvczDjR6lVUlMpyKFu5EErN_sclneAa6bJfmMJFpLcx-4YV3kNGBnl-i1Rp4kFHXqYB/s400/03+-+CONGREGA%25C3%2587%25C3%2582O+do+IBA+Di%25C3%25A1rio+de+Noticias+em+08.01.+1939.jpg" width="400" /></a></b></div>
<div style="text-align: center;">
<b><span face=""></span></b><span face="">Congregação IBA-RS –in Diário de
Noticias: Porto Alegre dia </span><span face=""> </span><span face="">06.01.1939</span></div>
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<span face="" style="color: #c00000;">Fig. 03 <b>No dia
05 de janeiro de 1939 o IBA-RS foi desligado da Universidade de Porto Alegre,
Como IBA-RS tinha dois CURSOS SUPERIORES em pleno funcionamento e no paradigma do Decreto nº 19.851 se 11.04,19319 a Congregação agilizou o seu reconhecimento
oficial cujo objetivo teve pleno êxito em 1941<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="color: #c00000;">[1]</span></b></span><!--[endif]--></span></a>
</b>Passava a funcionar na autonomia e
com o mesmo quadro que docente que havia sido aprovado pela UPA entre eles
estavam Joseph LUTZENBERGER e Fernando
CORONA <o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">Em 1938, a carga das expressões da AUDÁCIA, da ENERGIA de DOIS DOCENTES
de ARTES e a COERÊNCIA da INSTITUIÇÃO com seu TEMPO, sua SOCIEDADE e do seu
LUGAR, tomou corpo, ações, voz e obras n</span><span face="" style="line-height: 150%;">o </span><span face="" style="line-height: 150%;">INSTITUTO de BELAS ARTES
do RIO GRANDE do SUL (IBA-RS)</span><span face="" style="line-height: 150%;"> </span><span face="" style="line-height: 150%;"><o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">Uma das circunstâncias</span><span face="" style="line-height: 150%;"> desta renovação do IBA-RS</span><span face="" style="line-height: 150%;">, foi a crise, de amplo espectro, provocada pelo
ESTADO NOVO BRASILEIRO. Esta instituição de ARTES destinava-se à RENOVAÇÃO, CRIATIVIDADE
e ao ATUAL. A crise do ESTADO NOVO, entre os anos de 1937 até 1945, rompeu antigos
paradigmas administrativos, didáticos e estéticos nesta instituição. Evidente,
não se julga, mas apenas se afirma que
HOUVE SIGNIFICATIVAS MUDANÇAS no IBA-RS. É o
que se passa a estudar por meio
de DOIS DOCENTES de ARTES contratados,
pelo IBA-RS, ao longo desta crise do ESTADO
NOVO. </span><b><span face="" style="line-height: 150%;"><o:p></o:p></span></b></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[1]</span></span><!--[endif]--></span></a> Decr.
Federal nº 7.197 <b>20. 05. 1941</b>
“reconhece os cursos de Música e Artes Plásticas do Instituto de Belas Artes do
Rio Grande do Sul” (D.O.
de 07.10.1941)<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTnezDsekRZL_AADdxr5_zmlqIHEmfj7asAXr0MDPkeSSfu8Di8_QIuBcLFNwj7oAg9MOP1zlYz2U1QUbv1ldIxuBZKNVEu8FtW6zyWbL0BIrmJa4lypWFPV2wpcXmLkWrqBj37G-nsPrR/s1600/04+-+Cabe%25C3%25A7alho+de+Diploma+do+IBA-RS+na+UPA+entre+1934-1939.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="497" data-original-width="1303" height="152" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTnezDsekRZL_AADdxr5_zmlqIHEmfj7asAXr0MDPkeSSfu8Di8_QIuBcLFNwj7oAg9MOP1zlYz2U1QUbv1ldIxuBZKNVEu8FtW6zyWbL0BIrmJa4lypWFPV2wpcXmLkWrqBj37G-nsPrR/s400/04+-+Cabe%25C3%25A7alho+de+Diploma+do+IBA-RS+na+UPA+entre+1934-1939.jpg" width="400" /></a></div>
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<span face="" style="color: #c00000;">Fig. 04 </span><b style="color: #c00000; font-family: "arial narrow", sans-serif;">Um
diploma do CURSO SUPERIOR de ARTES </b><span face="" style="color: #c00000;"><b>PLÁSTICAS</b></span><b style="color: #c00000; font-family: "arial narrow", sans-serif;"> do Instituto de BELAS ARTES do Rio
Grande o Sul ainda integrada na Universidade de Porto Alegre </b><span face="" style="color: #c00000;">Com o IBA-RS
na autonomia a competência da concessão dos DIPLOMAS passou pra a Direção com
conexão direta e delegação do Ministro de Educação e Cultua </span><b><span face=""><o:p></o:p></span></b></div>
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<b><span face="" style="color: #0070c0;">01.1.–</span></b><b><span face=""> </span></b><b><span face=""> O QUE SE SUPEROU no IBA-RS em 1938 . <o:p></o:p></span></b></div>
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<span face="" style="line-height: 150%;"> </span><span face="" style="line-height: 150%;">A crise, provocada pelo
ESTADO NOVO BRASILEIRO, rompeu, antigos paradigmas administrativos, didáticos e
estéticos no IBA-RS. O setor mais atingido foi o CURSO de ARTES PLÁSTICAS. No
sentido positivo e quantitativa, multiplicaram-se, ali, os cursos, o número e
as diversas especializações de docentes. Houve necessidade de seleção de
estudantes devido ao crescente numero de candidatos muito superiores ás vagas
disponíveis no antigo sobrado da Rua Senhor dos Passos. Em consequência este
foi demolido e construído um especifico para as ARTES. <o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">No sentido problemático nem
sempre a QUANTIDADE EXPRESSA a QUALIDADE do lado interno. No lado externo, os MEIOS
PROFISSIONAIS, EDUCATIVOS CULTURAIS e SOCIAIS não estavam preparados<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span>[1]</span></span><!--[endif]--></span></a>
para absorver e lidar com a QUANTIDADE de formando deste CURSO UNIVERSITÁRIO
SUPERIOR das ARTES VISUAIS O MERCADO de
ARTE era dependente da EUROPA e da produção do CENTRO do BRASIL. As levas de
formandos do CURSO SUPERIOR UNIVERSITÁRIO de ARTES PLÁSTICAS do IBA-RS eram
percebidas como um corpo estranho pelos
velhos hábitos da dependência e da servidão. Estes formandos - do CURSO
SUPERIOR UNIVERSITÁRIO de ARTES PLÁSTICAS do IBA-RS - lutaram, muitas vezes
fracassava e, na maioria das vezes, se calavam dois anos após a sua imersão nos
CURSOS SUPERIORES do IBA-RS.<o:p></o:p></span></div>
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<b><span lang=""><span style="font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; font-weight: normal; line-height: normal;"> </span></span></b><!--[endif]--><a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[1]</span></span><!--[endif]--></span></a> Para entender
esta dissincronia entre UNIVERSIDADE e SOCIEDAE recomenda-se a leitura de<b> PORTANTIERO </b>Juan Carlos(1934-2007)<sup><span lang=""><!--[if !supportFootnotes]--><sup><span face="" lang="">[1]</span></sup><!--[endif]--></span></sup>..<b> Estudiantes y Política en América Latina: el proceso da la Reforma Universitaria (1918-1938). </b><span lang="">México: Siglo Veintiuno,</span>1978, 461p<br />
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<b><span face="" style="color: #0070c0;">01.2–</span></b><b><span face=""> </span></b><b><span face="">O
IBA-RS no PARADIGMA UNIVERSITÁRIO</span></b><b><span face="">.</span></b></div>
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9sRxOIFTA3Fnkn-a-LPaeDQh2vvJqna53ZxWmleKRvIPnU1vLn3lbPWUnBIcYZoByyTZVXszUs0WgTfhI2cJZBeUSyS6jEB6zirveICObMW1MMgYU8_hYjhj7iKruLcHkrfDtPDbg0dKr/s1600/05-+-FAHRION+Jo%25C3%25A3o+-+DOCENTES+do+IBA-RS.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="652" data-original-width="798" height="326" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9sRxOIFTA3Fnkn-a-LPaeDQh2vvJqna53ZxWmleKRvIPnU1vLn3lbPWUnBIcYZoByyTZVXszUs0WgTfhI2cJZBeUSyS6jEB6zirveICObMW1MMgYU8_hYjhj7iKruLcHkrfDtPDbg0dKr/s400/05-+-FAHRION+Jo%25C3%25A3o+-+DOCENTES+do+IBA-RS.jpg" width="400" /></a></b></div>
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<span face="">De esquerda para direita: João
Fahrion( autor do desenho), Benito Castañeda, Tasso Corrêa, Fernando Corona. Ângelo Guido, Joseph
Lutzenberger (no alto), Maristany de Trias e Ernani Corrêa – Do acervo da
Pinacoteca do IA-UFRGS.</span><span face=""><o:p></o:p></span></div>
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<span face="" style="color: #c00000;">Fig. 05 </span><b><span face="" style="color: #c00000;"> A equipe diversificada, afinada e eficiente,
interna e externamente do CURSO DE ARTES PLÁSTICAS do </span></b><b><span face="" style="color: #c00000;">do
Instituto de BELAS ARTES do Rio Grande o Sul </span></b><b><span face="" style="color: #c00000;">que
conferiu a base e consistência adequada para as expressões de autonomia do
campo artístico depois qe o IBA-RS tornou0se autônomo da UPA</span></b><b><span face="" style="color: red;">.</span></b><span face="" style="color: #c00000;">. Entre seus idealizadores estavam Joseph LUTZENBERGER e Fernando
CORONA </span><b><span face="" style="color: red;"><o:p></o:p></span></b></div>
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<span face="" style="line-height: 150%;">O CURSO SUPERIOR
UNIVERSITÁRIO das ARTES representava uma ruptura entre as concepções pedagógicas
da VELHA REPÚBLICA e aquelas do REGIME posterior à REVOLUÇÃO de 1930. No
contraditório a este otimismo pelo “NOVO” esta UNIVERSIDADE, além de ser amplamente
dessincronizada com outras culturas e nações, era proposta por um GOVERNO
PROVISÓRIO em vias de afirmação. Este governo, para manter-se no poder, além
destas medidas inovadoras. teve de recorrer frequentemente aos instrumentos e
aparelhos coercitivos do ESTADO NOVO.<o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">Para IBA-RS contou ter
sido fundado para TEMPO INDETERMINADO em 1908 e contar uma história de TRINTA
ANOS anteriores à UNIVERSIDADE BRASILEIRA. No IBA-RS foi necessário, para levar
adiante este seu projeto, usar e provar o
HÁBITO da INTEGRIDADE INTELECTUAL e ESTÉTICA, em várias ocasiões<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span>[1]</span></span><!--[endif]--></span></a>.<o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">O paradigma da
UNIVERSIDADE foi mais uma destas ocasiões. O IBA-RS viu-se privado da COMISSÃO
CENTRAL sua MANTENEDORA para dar lugar ao paradigma da UNIVERSIDADE. Mesmo
assim o IBA-RS foi despedido de uma UNIVERSIDADE incipiente e com problemas sem
fim. Teve de formar a sua própria CONGREGAÇÃO, exclusivamente de artistas, com
a missão de assumir os destinos maiores da instituição. No lado didático, a
severa vigilância e supervisão direta do CONSELHO NACIONAL de EDUCAÇÃO <a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span>[2]</span></span><!--[endif]--></span></a>
não davam trégua e tinham de serem atendidas em aspectos “NOVOS” aos antigos hábitos.
<o:p></o:p></span></div>
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<b><span face=""> <o:p></o:p></span></b></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[1]</span></span><!--[endif]--></span></a> Uma destas ocasiões foi
protagonizada pelo PENSAMENTO de TASSO BOLIVAR DIAS CORRÊA propondo <b>a ARTE no </b>paradigma da <b>UNIVERSIDADE BRASILEIRA</b> - <b>Isto
é ARTE nº 165 - </b><b><a href="http://profciriosimon.blogspot.com.br/2016/04/165-o-pensamento-de-tasso-correa.html">http://profciriosimon.blogspot.com.br/2016/04/165-o-pensamento-de-tasso-correa.html</a></b><b><o:p></o:p></b></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[2]</span></span><!--[endif]--></span></a> O CONSELHO NACIONAL de EDUCAÇÃO foi criado em
<b>11. 04. 1931
pel</b>o Decreto
nº 19.850: ‘<b><i>Cria o Conselho Nacional de
Educação” </i></b> ( 8 artigos ) o .primeiro no pacote Decretos Federais que legislavam sobre a Universidade
Brasileira. Este Reforma Francisco Campos: compreendia também o Decreto de <b>Nº 19.851</b>: <b>‘<i>Dispõe que o ensino no</i></b><i> <b>Brasil
obedecerá de preferência ao sistema universitário</b></i>’. (XIV títulos 116
artigos). Decreto. Nº 19.852: ‘<b><i>Dispõe sobre a organização da Universidade
do Rio de Janeiro</i></b> (328 artigos + exposição. de motivos)<span><o:p></o:p></span><b><span face=""><span style="color: #0070c0;"> </span></span></b><br />
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<b><span face=""><span style="color: #0070c0;">01.3 –</span> CONSEQUÊNCIAS e MUDANÇAS entre o ANTIGO e o
NOVO IBA-RS.</span></b></div>
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<span face="" style="color: #c00000;">Fig. 06</span><span face="" style="color: #c00000;"> </span><b style="color: #c00000; font-family: "arial narrow", sans-serif;">É
visível no INSTITUTO de BELAS ARTES do Rio Grande o Sul diferença entre A
ESCOLA de ARTES e dos CURSOS TÉCNICO
e SUPERIOR de ARTES PLÁSTICAS no
paradigma universitário </b><span face="" style="color: #c00000;">O ingresso na ESCOLA DE ARTES podia ser feito em
qualquer nível a depender de se submeter a uma banca especifica deste
nível.,</span><span face="" style="color: #c00000;"> </span><span face="" style="color: #c00000;">além de provar que o candidato
sabia ler,</span><span face="" style="color: #c00000;"> </span><span face="" style="color: #c00000;">escrever, dominar as</span><span face="" style="color: #c00000;"> </span><span face="" style="color: #c00000;">operações matemáticas básicas e ter 14 anos No
novo CURSO TÉCNICO o SUPERIOR </span><span face="" style="color: #c00000;"> </span><span face="" style="color: #c00000;">o
currículo era linear, seriado e sem possibilidade de saltar qualquer
disciplina.</span><br />
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<span face="" style="color: #6aa84f;">[<b><i>CLIQUE SOBRE o GRÁFICO para LER</i></b>.</span></div>
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<span style="color: #6aa84f;"><span face="" style="font-size: x-small;">O numero do gráfico refere-se ao numero que recebei na tese ORIGENS do INSTITUTO de ARTES]</span></span></div>
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<span face="" style="line-height: 150%;">Nestas mudanças o IBA-RS
evitou qualquer curso xifópago ensejando pelo convívio forçado de campos
autônomos das ARTES com COMUNICAÇÃO, LETRAS e CULTURA. Os cursos xifópagos que favorecem
umas das áreas tornar-se hegemônica sobre a outra, que é sufocada. <o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">Este foi o grande
equivoco da reforma universidade promovida em 1968 sob o malfadado projeto
proposto pelo norte americano Rudolf ATCON<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span>[1]</span></span><!--[endif]--></span></a>
Os mandamentos, deste projeto, visavam apenas a racionalidade administrativa,
burocrática e econômica. Sob esta ótica a antiga ESCOLA de ARTES do IBA-RS, com
a sua dúzia de alunos e dois professores, não teria suportado os </span><span face="" style="line-height: 150%;">TRINTA ANOS</span><span face="" style="line-height: 150%;"> nos quais se manteve viva e sempre ativa qual
filete de água. No lado positivo, caso esta ESCOLA de ARTES tivesse sucumbido -
sob o peso da racionalidade administrativa burocrática e econômica - não
haveria lugar para Fernando CORONA e José LUTZENBERGER, e nem espaço
institucional que se deu a partir de 1938 neste mesmo IBA-RS.<o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">Para contornar esta
contradição</span><span face="" style="line-height: 150%;"> o novo estatuto do IBA-RS</span><span face="" style="line-height: 150%;"> desenhou </span><span face="" style="line-height: 150%;">uma estrutura competente para absorver as CONQUISTAS
dos TRINTA ANOS anteriores ao PARADIGMA UNIVERSITÁRIO. Neste desenho constava,
no Regulamento aprovado em sessão da Congregação no dia 24.03.1939, que.</span><span face="" style="line-height: 150%;"><o:p></o:p></span></div>
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<i><span face="" style="line-height: 150%;">“</span></i><i><span face="" style="line-height: 150%;">Art. 2º -
O ensino da Música será em três cursos: Fundamental, Geral e Superior.<o:p></o:p></span></i></div>
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<i><span face="" style="line-height: 150%;">Art. 4º - Embora mantida a unidade técnica e
administrativa do Instituto de Belas Artes, desses três cursos, só será
considerado universitário, para todos os efeitos do decreto 19.851, o curso
superior</span></i><i><span face="" style="line-height: 150%;">”.<o:p></o:p></span></i></div>
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<span face=""> Tanto Fernando CORONA
como Joseph LUTZENBERGER lecionaram nos diversos CURSOS TÉCNICOS do IBA-RS.
Iberê CAMARGO formou-se no Curso Técnico de Arquitetura do IBA-RS enquanto a
sua esposa Maria COUSIRAT CAMARGO diplomou-se no CURSO SUPERIOR de ARTES
PLÁSTICAS do IBA_RS. Portanto ambos foram estudantes de Fernando CORONA como de
Joseph LUTZENBERGER</span>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span face=""><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span>[</span>1]</span><!--[endif]--></span></span></a><span face=""> </span><b><span face="">ATCON</span></b><span face="">,
Rudolph P.<b> ATCON e a Universidade
Brasileira.</b> (Coordenação de José
Serrano). Rio de Janeiro: Techné<b>.
</b>1974, 322p<o:p></o:p></span></div>
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPR4sjVbfmNmm1E4QLyA62C7UyWVBXzyOntOhYGxC1INGXu8RdbMZATrthyvae53FL_YsutqSP2FXiouONPlTHrQvlEldwkBrt5xZL9cO5ClxckjkwyLhbHKOVuABNPpXhlTz8CgLEp0Z4/s1600/07+-+CURR%25C3%258CCULO+Lutzenberger+e+CORONA.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="803" data-original-width="1179" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPR4sjVbfmNmm1E4QLyA62C7UyWVBXzyOntOhYGxC1INGXu8RdbMZATrthyvae53FL_YsutqSP2FXiouONPlTHrQvlEldwkBrt5xZL9cO5ClxckjkwyLhbHKOVuABNPpXhlTz8CgLEp0Z4/s400/07+-+CURR%25C3%258CCULO+Lutzenberger+e+CORONA.jpg" width="400" /></a></b></div>
<b> </b><span face="" style="color: #c00000;">Fig. 07</span><span face="" style="color: #c00000;"> </span><b style="color: #c00000; font-family: "arial narrow", sans-serif;">O
quadro docente no CURSO SUPERIOR de ARTES PLÁSTICAS do INSTITUTO de BELAS ARTES
do Rio Grande o Sul se inspirou no currículo
seguido pela ESCOLA de BELAS de UNIVERSIDADE do Rio de Janeiro (EBA_URJ) Resultava do Decreto nº 19.851 de 11,04.1931
que aconselhava que o CURSOS SUPERIORES seguissem o paradigma da UNIVERSIDADE BRASILEIRA </b><span face="" style="color: #c00000;">Joseph
LUTZENBERGER e Fernando CORONA encarregaram-se de diversas</span><span face="" style="color: #c00000;"> </span><span face="" style="color: #c00000;">disciplina. Fernando CORONA implantou as
disciplinas de ESCULTURA e MODELAGEM existentes n a EBA- URJ</span><br />
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<b><span face=""> </span></b><span face="" style="color: #6aa84f;">[</span><b style="color: #6aa84f; font-family: "arial narrow", sans-serif;"><i>CLIQUE SOBRE o GRÁFICO para LER</i></b><span face="" style="color: #6aa84f;">.</span></div>
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<span style="color: #6aa84f;"><span face="" style="font-size: x-small;">O numero do gráfico refere-se ao numero que recebei na tese ORIGENS do INSTITUTO de ARTES]</span></span></div>
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<span style="color: #6aa84f;"><span face="" style="font-size: x-small;"><br /></span></span></div>
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<b><span face="" style="color: #0070c0;">01.4 –</span></b><b><span face=""> As contribuições de dois profissionais
qualificados das ARTES no NOVO IBA-RS</span></b><b><span face=""> </span></b><b><span face=""></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkwQQnlqrObwr4GRt3poDsKO3RBycXVoWwwi2k7gDxk5RYQlPQrea26z3kQU1W13Bo1seY0pryk7gBzDocqzMolPozKdXvS1XeD3BoEjJWlxGyQqtTSCaD1t0onnMwVjU7ECSgfusQiOzM/s1600/08+-+LUTZENBERGER+e+CORONA.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="797" data-original-width="1393" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkwQQnlqrObwr4GRt3poDsKO3RBycXVoWwwi2k7gDxk5RYQlPQrea26z3kQU1W13Bo1seY0pryk7gBzDocqzMolPozKdXvS1XeD3BoEjJWlxGyQqtTSCaD1t0onnMwVjU7ECSgfusQiOzM/s400/08+-+LUTZENBERGER+e+CORONA.jpg" width="400" /></a></div>
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<span face="" style="color: #c00000;">Fig. 08 <b>O bávaro
</b>Joseph LUTZENBERGER <b>e espanhol </b>Fernando
CORONA <b>agiram em sintonia do INSTITUTO de BELAS ARTES do Rio Grande o Sul como
docentes entre os anos de 1938 e 1951 </b> No entanto LUTZENBERGER era portador de uma
formação erudita formal. CORONA adquiriu estes conhecimentos na prática, nos
livros e no intenso convívio como s intelectuais do Rio Grande do Sul <a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: #c00000;">[1]</span></span><!--[endif]--></span></a>e da ENBA-URJ </span><b><span face=""><o:p></o:p></span></b></div>
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<span face="" style="line-height: 150%;">Tanto LUTZENBERGER como
CORONA cultivaram a memória da sua origem europeia e a tornaram produtiva para
a sua pátria de adoção. Os dois cumpriram, na sua nova terra, a sua condição de
estrangeiros na concepção de SIMMEL<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span>[2]</span></span><!--[endif]--></span></a>.
Assim foram respeitados pela sua condição de neutralidade em relação aos
nativos envolvidos em intrigas e por questões internas antigas e redundantes.<o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">Como estrangeiros em
momento algum renunciaram a sua formação pessoal, de sua origem. Valeram desta
origem com objetivo de não se perderem no potencial da nova estranha terra que
os acolheu. Estiveram sob a tremenda e estúpida vigilância do ESTADO NOVO
BRASILEIRO desconfiado de qualquer estranho. Ambos cederam ao poder legal da
nova terra ao solicitar contratualmente o registro da CIDADANIA BRASILEIRA para
assumirem o cargo no IBA-RS.<o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">Neste gesto confirmaram a
natureza do seu projeto pessoal. Tanto a CULTURA RIO-GRANDENSE como o CURRÍCULO
destes dois estrangeiros, lucraram e saíram enriquecidos e fortalecidos. As
ARTES VISUAIS do RIO GRANDE do SUL, certamente, não seriam as mesmas sem os
projetos pessoais e as obras que permanecem destes dois personagens.<o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">Joseph LUTZENBERGER passou
31 anos no Brasil, para o qual migrou aos 36 anos, Nas suas três décadas
brasileiras produziu uma imensa obra que lhe garante merecido cultivo de sua
memória <o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">Fernando CORONA passou
67 anos no Brasil e retornou várias oportunidades para a sua terra natal<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span>[3]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<br /></div>
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<br /></div>
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<br />
<span face=""><o:p></o:p></span></div>
<div>
<!--[if !supportFootnotes]--><br clear="all" />
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<br />
<div id="ftn1">
<div class="MsoFootnoteText">
<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[1]</span></span><!--[endif]--></span></a> Uma TOURADA FRUSTRADA pelo TOURO0 e como FERNANDO
CORONA CONVERTEU-SE para a CULTURA SUL RIO GRANDENSE-279. ISTO é ARTE <span lang="ES"><a href="https://profciriosimon.blogspot.com/2020/02/279-isto-e-arte.html"><span color="" lang="" style="text-decoration-line: none;">https://profciriosimon.blogspot.com/2020/02/279-isto-e-arte.html</span></a><o:p></o:p></span></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[2]</span></span><!--[endif]--></span></a> <b><span lang="">SIMMEL,
</span></b><span lang="">Georg
<b> Sociología y estudios sobre las formas de
socialización. </b>Madrid:
Alianza. 1986, 817. 2v.</span><span lang="ES"><o:p></o:p></span></div>
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<span lang=""><br /></span></div>
</div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[3]</span></span><!--[endif]--></span></a> CORONA Fernando <b>Amêndoas e mel</b>: Crônicas de Espanha. Porto
Alegre: Sulina, 1969 139 p.<o:p></o:p></div>
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-----350 DIAS na
ESPANHA manuscrito 1966 - 1967
26.11.1965 20.07.1967---293
f.<o:p></o:p></div>
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---- VIAGEM à ESPANHA 1974 318 f <i>Folhas
xadrez em caderno espiral ilustrado: 210
mm X 149 mm.</i> <i>Acervo as família (
20</i><i> )</i></div>
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<b><span face="" style="color: #0070c0;">02 –</span></b><b><span face=""> </span></b><span face="">A trajetória de José Lutzenberger.</span></div>
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5gyc2EwS1B8ShuQDud9vheE-zFR-eQP1ni6HzmsJQT705WoswivqBjXuyVBml5hjTi3g9MQ1x8N_vPhqi4Dn6rN7eZHCrLz6daMp0_AxSdE8L0eAX96KkCYtEdQ8zE9deZA9JLTrsLKle/s1600/09+-+deslocamento_de_tropas_10-22.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1600" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5gyc2EwS1B8ShuQDud9vheE-zFR-eQP1ni6HzmsJQT705WoswivqBjXuyVBml5hjTi3g9MQ1x8N_vPhqi4Dn6rN7eZHCrLz6daMp0_AxSdE8L0eAX96KkCYtEdQ8zE9deZA9JLTrsLKle/s400/09+-+deslocamento_de_tropas_10-22.jpg" width="400" /></a></b></div>
<b><span face=""></span></b><span face="">Imagens das obras de Lutzenberger na Europa </span><a href="http://www.lutzenberger.com.br/paisagens_europa.htm" style="font-family: "arial narrow", sans-serif; font-size: 8pt;">http://www.lutzenberger.com.br/paisagens_europa.htm</a><br />
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<b><span face=""> </span></b><span face=""><a href="http://www.lutzenberger.com.br/paisagens_europa_12.htm">http://www.lutzenberger.com.br/paisagens_europa_12.htm</a><o:p></o:p></span></div>
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<span face="" style="color: #c00000;">Fig. 09 <b> Joseph LUTZENBERGER foi convocado para servir
no exercito alemão da I GUERRA, MUNDIAL . Nesta circunstância registrava, em
desenhos e aquarela, s o que lhe era dado ver e viver</b> No Rio Grande o Sul continuou este exercício
de observação e registro em desenhos e aquarelas. No entanto nunca deixou de
escolher ângulos, detalhes e cenas meramente fotográficos<o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">Lutzenberger ingressou
em 1920 no Brasil com uma formação erudita completa nas ARTES e um razoável
currículo de obras próprias realizadas. Com esta formação e obra. não dobrou sua
personalidade à modismos, estéticas de ocasião ou de algum grupo de elogios
recíprocos. Cumpria estritamente os seus contratos profissionais, tantos nas
empresas de construção como o IBA-RS. Retornava ao seu domicílio no qual ele se
entregava às suas paixões pessoais sublimadas pelo desenho e pela aquarela. <o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">Na medida em que as
condições lhe permitam foi construindo e personalizando a sua residência<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span>[1]</span></span><!--[endif]--></span></a>
em Porto Alegre. Ali criou ambientes favoráveis para uma educação estética e existencial
Para José, Rose<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span>[2]</span></span><!--[endif]--></span></a>
e Madalena LUTZENBERGER<o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">Praticava ali, a paixão pelo
desenho e pela aquarela NÂO VISANDO RETORNO FINANCEIRO e na forma ARTES NOBRES fora
de outros objetivo da natureza intrínsecas destas OBRAS. <o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">Nas suas andanças
profissionais pelas cidades do interior ou da capital do Rio Grande do Sul começou a perceber aspectos pitorescos da
cultura local. Esta temática ganhou amplos registros nos seus desenhos e aquarelas.
Paralelamente iniciou a sua coleta de plantas e animais que estimularam o seu
filho, José LUTZENBERGER (1926-2002)<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span>[3]</span></span><!--[endif]--></span></a>
ecologista pelo resto da existência. Assim este filho tornou-se uma das maiores
expressões e obras no Rio Grande do Sul. As suas filhas fizeram a sua formação
em Artes Plásticas no IBA-RS onde lecionaram por muito tempo. Madalena foi
proponente e fundadora da AAAMAGS<o:p></o:p></span></div>
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<b><span face="" style="color: #0070c0;">02.1 –</span></b><b><span face=""> </span></b><b><span face="">ORIGEM e POSTULADOS ESTÉTICOS</span></b><span face=""> de José
Lutzenberger</span><b><span face="">.</span></b><span face=""> <o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">Joseph Franz Seraph LUTZENBERGER
migrou, ao Brasil, com formação superior regular e formal na Baviera natal.
Assim ele era portador de uma estética alegre e expansiva do sul da Alemanha,
distinta do mundo prussiano carregado com o racionalismo do Neoclássico tardio
que se tornou padrão ao longo do regime nazista. Nesta dialética - prussiana e
bávara -é possível pensar na dialética “Abstraktion und Einfühlung” de uma tese
livro Worringer <a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span>[4]</span></span><!--[endif]--></span></a>,
em 1908. </span><span face="" style="line-height: 150%;"><o:p></o:p></span></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[1]</span></span><!--[endif]--></span></a> A CASA e FAMILIA de Joseph Franz Seraph LUTZENBERGER <o:p></o:p></div>
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<a href="http://helenaschanzer.com.br/2016/06/01/ilustracoes-de-lutzenberger-retratam-a-infancia-do-ambientalista-capitulo-2/">http://helenaschanzer.com.br/2016/06/01/ilustracoes-de-lutzenberger-retratam-a-infancia-do-ambientalista-capitulo-2/</a><o:p></o:p></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[2]</span></span><!--[endif]--></span></a><span lang="DE"> Rose LUTZENBERGER <a href="http://www.ufrgs.br/acervoartes/artistas/l/lutzenberger-rose">http://www.ufrgs.br/acervoartes/artistas/l/lutzenberger-rose</a><o:p></o:p></span></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[3]</span></span><!--[endif]--></span></a>
Ecologista José LUTZENBERGER <a href="https://pt.wikipedia.org/wiki/Jos%C3%A9_Lutzenberger">https://pt.wikipedia.org/wiki/José_Lutzenberger</a><o:p></o:p></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[4]</span></span><!--[endif]--></span></a> <b><span lang="DE">WORRINGER, </span></b><span lang="DE"> Wilhelm
(1881 - 1965). </span><b>Abstraccion y naturaleza</b>. (1ª.ed.
em1908). México : Fondo de Cultura Econômica, 1953. 137p.<o:p></o:p></div>
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<a href="https://de.wikipedia.org/wiki/Abstraktion_und_Einf%C3%BChlung">https://de.wikipedia.org/wiki/Abstraktion_und_Einfühlung</a><span><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSzjEJPXo-_lhMr5vH6ilveqCCuSDjionyQLJM6xWKt6pF2bslc9eXKtJNB-9wzverkonx-wRoX4g5ElnyLSmwS_IJcfMh71zMkSHPWRYtd2yi5WDFMEf_pj0dDoXZCVxPvXEJEXFXCHEK/s1600/10+-+ex_libris.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1095" data-original-width="900" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSzjEJPXo-_lhMr5vH6ilveqCCuSDjionyQLJM6xWKt6pF2bslc9eXKtJNB-9wzverkonx-wRoX4g5ElnyLSmwS_IJcfMh71zMkSHPWRYtd2yi5WDFMEf_pj0dDoXZCVxPvXEJEXFXCHEK/s400/10+-+ex_libris.jpg" width="328" /></a></div>
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<span face="" style="color: #c00000;">Fig. 10 O <b>EX-LIBRIS
de LUTZENBERGER reforça o seu duplo
nascimento Um na Alemanha em 1882. Outro
no Brasil em i920 Pode-se aproximar esta obra que ele estava a na mesma linha de Fernando Corona que
inicia o seu diário<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="color: #c00000;">[1]</span></b></span><!--[endif]--></span></a>
com a epigrafe “</b></span><b><i><span face="" style="color: #c00000;">NASCÍ EM UM LUGAR E RENASCÍ EM OUTRO
ONDE ENCONTREI AMOR”.</span></i></b><b><i><span face="" style="color: #c00000;"> </span></i></b><span face="" style="color: #c00000;">Na concepção de Simmel o estrangeiro<b><i> </i></b>guarda na sua origem com
um padrão com o qual julga a nova terra e onde ele é respeitado, na sua nova
condição de juiz externo </span><b><span face=""><o:p></o:p></span></b></div>
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<span face="" style="line-height: 150%; text-indent: 70.9pt;">No pós-guerra europeia,</span><span face="" style="text-indent: 70.9pt;"> </span><span face="" style="line-height: 150%; text-indent: 70.9pt;">Joseph Franz Seraph LUTZENBERGER
encontrou um clima diferente e favorável à sua obra no Sul do Brasil. De um
lado era favorável na medida em que convivia com uma toda comunidade de
imigração germânica, já consolidada, que transformara a capital do Rio Grande
do Sul imprimindo-lhe um incipiente desenvolvimento econômico. O pico deste
desenvolvimento, já havia passado na
época de Carlos Barbosa<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span>[1]</span></span></span></a>.
O clima social e político eram diferentes. em 1920, pois a I Guerra Mundial
havia dado lugar um patrulhamento ao elemento
germânico que irá se acentuar e chegar á culminância e paranoia ao longo do
ESTADO NOVO BRASILEIRO em especial ao longo da II Guerra Mundial.</span></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[1]</span></span><!--[endif]--></span></a> <b>DOBERSTEIN, </b>Arnoldo Walter<b>. Rio Grande do Sul (1920-1940):
estatuária, catolicismo e gauchismo</b>. Porto Alegre: PUC-Faculdade de Filosofia
e Ciências Humanas, 1999. <span lang="">377f</span><span><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5ZEgK6tvqm9QWd9wDjQ5InO-hPSeMtl0dB5O0hJYSYyqEhf8GW4S8Sq_tPfpqqXbaEmBRDb4vHZHudscoRH4j1ivrK9p_Zkvg9oEMYuWlvQDP6dMJZ_VdPIbM_68bptO5xZG7eQlDQUw2/s1600/11+--Igreja_S%25C3%25A3o_Jos-e+em+06.03.2020.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1286" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5ZEgK6tvqm9QWd9wDjQ5InO-hPSeMtl0dB5O0hJYSYyqEhf8GW4S8Sq_tPfpqqXbaEmBRDb4vHZHudscoRH4j1ivrK9p_Zkvg9oEMYuWlvQDP6dMJZ_VdPIbM_68bptO5xZG7eQlDQUw2/s400/11+--Igreja_S%25C3%25A3o_Jos-e+em+06.03.2020.jpeg" width="321" /></a></div>
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<span face="" style="color: #c00000;">Fig. 11 <b>O
prédio da Igreja São José da avenida Alberto Bins de Porto Alegre é um prédio
icônico da obra de Joseph LUTZENBERGER. </b> Projetou o conjunto urbanístico, arquitetônico escultórico, decorativo e
pictórico cuja execução confiou a
profissionais qualificados a quem confiava
minuciosos projetos gráficos detalhados
de sua lavra. (fig. 14)<o:p></o:p></span></div>
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<span face="" style="line-height: 150%;"> De um lado Lutzenberger pode desenvolver a sua
obra entre a fraterna acolhida dos descendentes do seu patrícios. Do outro ele soube
administrar e transformar o tabu anti-germânico em complementariedade na sua
obra. Ajudava a sua verve de bávaro da sua origem que ele jamais renegou. Esta
verve se expandiu e saltava na sua obra pintada e gráfica. Materializou-se na
obra construída em prédios icônicos e que o Rio Grande do Sul incorporou como
patrimônio consolidada de uma época e expressão de uma personalidade que
projetava e agia como príncipe.<o:p></o:p></span></div>
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<span face="" style="line-height: 150%;"> A pintura, desenho e aquarelas era Joseph
Franz Seraph LUTZENBERGER</span><span face="" style="line-height: 150%;"> eram</span><span face="" style="line-height: 150%;">
exercidos como espécie de acesse estética, um desafio mental e técnico pessoal.
Esta vertente, de sua obra não visava aplicação imediata, única e de consumo e
sem fins comerciais ou lucro. Joaquin Lebreton diria que era ARTE NOBRE<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span>[1]</span></span><!--[endif]--></span></a>
ou </span><b><u><span face="" style="line-height: 150%;">OBRA</span></u></b><span face="" style="line-height: 150%;"> de alguém que pesquisa ou principia algo
visando o seu AUTO CONHECIMENTO, O</span><u><span face="" style="line-height: 150%;"> TRABALHO</span></u><span face="" style="line-height: 150%;">, em firmas construtoras, garantia-lhe a
sobrevivência e da sua família. Este </span><u><span face="" style="line-height: 150%;">TRABALHO</span></u><span face="" style="line-height: 150%;"> para
estas firmas consistia em projetos
prédios. Contudo era projeções do seu AUTO
CONHECIMENTO que Lutzenberger exercia com grande </span><span face="" style="line-height: 150%;">LIBERDADE ESTÉTICA </span><span face="" style="line-height: 150%;">Esta </span><span face="" style="line-height: 150%;">LIBERDADE ESTÉTICA </span><span face="" style="line-height: 150%;"> emprestava personalidade a estes projetos prédios. </span><span face="" style="line-height: 150%;">LIBERDADE ESTÉTICA </span><span face="" style="line-height: 150%;"> que lhes garantiu uma sobrevida à implacável
entropia da ERA INDUSTRIAL<o:p></o:p></span></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[1]</span></span><!--[endif]--></span></a> CARTA de LE BRETON ao CONDE da BARCA<o:p></o:p></div>
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<span style="color: blue;"><a href="http://profciriosimon.blogspot.com.br/2016/02/151-logistica-em-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2016/02/151-logistica-em-estudos-de-arte.html</a></span><br />
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<span style="color: blue;"> </span><b><span face="" style="color: #0070c0;">02.2 –</span></b><b><span face=""> </span></b><b><span face=""> A OBRA no RIO GRANDE do SUL</span></b><span face=""> de José
Lutzenberger</span><b><span face=""> </span></b><span><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg6mHeVT9QIT8qA3drdrKPMcsdZVTOFQLlK5lCyVXmufG541Dm9T_kj6XEvEiyNClUW3xWSRSy4RZibpc_JtTteDbINBIWCYL5aD-584cxtSL2bK-6RW6A4694ITH3lzCpjj6fhEJX9cZW/s1600/12+-+P%25C3%2583O+dos+POBRES+e+oFICINAS.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1040" data-original-width="1600" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg6mHeVT9QIT8qA3drdrKPMcsdZVTOFQLlK5lCyVXmufG541Dm9T_kj6XEvEiyNClUW3xWSRSy4RZibpc_JtTteDbINBIWCYL5aD-584cxtSL2bK-6RW6A4694ITH3lzCpjj6fhEJX9cZW/s400/12+-+P%25C3%2583O+dos+POBRES+e+oFICINAS.jpg" width="400" /></a></div>
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<span face=""><span>PRÉDIO</span></span><span face=""> do
ORFANATO PÃO dos POBRES - Porto Alegre RS<o:p></o:p></span></div>
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<span face=""><a href="https://www.sul21.com.br/noticias/2011/11/pao-dos-pobres-instituicao-beneficente-de-inspiracao-francesa/">https://www.sul21.com.br/noticias/2011/11/pao-dos-pobres-instituicao-beneficente-de-inspiracao-francesa/</a><o:p></o:p></span></div>
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<span face="" style="color: #c00000;">Fig. 12 <b>O
projeto de Joseph LUTZENBERGER do conjunto
dos prédios do ORFANATO do PÂO dos POBRES de Porto Alegre inclui as oficinas do
Liceu de Artes e Ofícios Palmeiro Fontoura<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="color: #c00000;">[1]</span></b></span><!--[endif]--></span></a> </b>É
de se destacar o urbanismo da implantação desta obra que se defrontava com a
Avenida Praia de Belas, às margens do Guaíba, e era separado da cidade pelo
Riacho Dilúvio que passava nos findos
das oficinas e atual rua Décio Martins Costa, antes de passar pela PONTE de
PEDRA do Riacho e lindeira com a estação de trens para a o bairro Tristeza A inauguração deste prédio de LUTZENBERGER
conto com ampla reportagem de REVISTA do GLOBO. Porto Alegre: Editora Globo nº
36 (nº 12 do ano de 1930) dia 30 de junho de 1930 pp, 45-48. Neste texto jornalístico o
arquiteto não foi destacado ou citad.o.</span><b><span face=""><o:p></o:p></span></b></div>
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<span face="" style="line-height: 150%;">Há necessidade de
distinguir a PRODUÇÃO PROFISSIONAL daquele PESSOAL de Lutzenberger.<o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">No entanto na PRODUÇÃO
PROFISSIONAL ele nunca renunciou a produzir em obras personalizadas, com
profundos traços de sua origem e da estética que tinha escolhido por norte sem
abandoná-la do começo ao fim de sua vida.<o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">Assim agia como um príncipe,
sem se dobrar aos gostos e imposições de empreiteiras, técnicos e engenheiros
Era ele que PRINCIPIAVA a OBRA com a sua CONCEPÇÃO GLOBAL e FINAL Cabia aos
engenheiros, artesãos, técnicos e empreiteiras o </span><span face="" style="line-height: 150%;">TRABALHO</span><span face="" style="line-height: 150%;"> trazer esta </span><span face="" style="line-height: 150%;">OBRA</span><span face="" style="line-height: 150%;"> mental para o mundo objetivo e real. No projeto
nada era acaso ou indecisão. Lutzenberger tinha formação estética suficiente
para afirmar e assegurar a AUTONOMIA do ARTISTA. Mesmo que este seu projeto
pessoal lhe valesse desqualificações de espíritos volúveis, de pessoas busca de
fama fácil e passageira e que ecoando no meio de grupos de elogios recíprocos.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 70.9pt;">
<span face="" style="line-height: 150%;"> Não se realizou - ou não se conhece - uma
lista completa de seus projetos autorais e construídos. Os mais citados são os
prédios da Igreja São José, Palácio do Comércio<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span>[2]</span></span><!--[endif]--></span></a>,
do Pão dos Pobres, Edifício Bastian Pinto<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span>[3]</span></span><!--[endif]--></span></a>
que permanecem n e foram incorporados como patrimônio visual e estético da Capital
A sua permanência nunca foi colocada em dúvida e certamente continuarão a
orientar e caracterizar esta paisagem urbana.<o:p></o:p></span></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[1]</span></span><!--[endif]--></span></a> ESCOLAS de ARTES e OFÍCIOS em PORTO ALEGRE <b><a href="http://profciriosimon.blogspot.com.br/2018/02/227-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2018/02/227-estudos-de-arte.html</a></b><o:p></o:p></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[2]</span></span><!--[endif]--></span></a> Palácio do Comercio –
projeto - <a href="http://www.ufrgs.br/acervoartes/obras/desenho/desenho/lutzenberger-jose-2/view">http://www.ufrgs.br/acervoartes/obras/desenho/desenho/lutzenberger-jose-2/view</a><o:p></o:p></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[3]</span></span><!--[endif]--></span></a> Edifício
BASTIAN PINTO Obra de Joseph Franz Seraph LUTZENBERGER <a href="https://urbsnova.wordpress.com/2013/03/28/ed_bastianpinto/">https://urbsnova.wordpress.com/2013/03/28/ed_bastianpinto/</a><br />
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<b><span face="" style="color: #0070c0;">02.3 –</span></b><b><span face=""> INTERAÇÕES</span></b><span face=""> de José Lutzenberger</span><b><span face=""> com o INSTITUTO
de BELAS ARTES do RIO GRANDE do SUL.</span></b><span style="mso-fareast-language: PT-BR;"><o:p></o:p></span></div>
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<b><span face=""></span></b></div>
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<b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJFPTOY4JMHwR6xXVnIGdEVWHL3vmL8SvXYemtwvzf5Ir8WKjAdELDXmpDOFX-ypnv1mprDZkhk003fWp0wTvZS7xOzBqt3ZLix1En_wND429utwL8EyUco1ge3GkIZ9NdwbxRoC0vl3e7/s1600/13++-+Joseph+Seraph+LUTZENBERGER++1882-1951+in+-+Ante-+Projeto+IBA-RS++n%25C2%25BA+4+.dez.1949.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="734" data-original-width="628" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJFPTOY4JMHwR6xXVnIGdEVWHL3vmL8SvXYemtwvzf5Ir8WKjAdELDXmpDOFX-ypnv1mprDZkhk003fWp0wTvZS7xOzBqt3ZLix1En_wND429utwL8EyUco1ge3GkIZ9NdwbxRoC0vl3e7/s400/13++-+Joseph+Seraph+LUTZENBERGER++1882-1951+in+-+Ante-+Projeto+IBA-RS++n%25C2%25BA+4+.dez.1949.jpg" width="341" /></a></b></div>
<div style="text-align: center;">
<b><span face="">FONTE da IMAGEM: in revista Ante- Projeto. Porto Alegre: IBA-RS, em 12.1949, nº 4</span></b><b><span face=""> <o:p></o:p></span></b></div>
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<span face="" style="color: #c00000;">Fig. 13 </span><b><span face="" style="color: #c00000; mso-bidi-font-family: "Arial Black"; mso-bidi-font-size: 11.0pt;">Uma foto de Joseph Seraph
Lutzenberger em plena ação numa aula de Estereometria<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="color: #c00000;">[1]</span></b></span><!--[endif]--></span></a> no Curso Superior de Arquitetura do IBA-RS</span></b><span face="" style="color: #c00000; mso-bidi-font-family: "Arial Black"; mso-bidi-font-size: 11.0pt;">. Contratado a partir de 1936
permaneceu no ano de 1951 quando faleceu e foi sucedido por Aldo Locatelli na
Cadeira de Arte Decorativa</span><span face=""><o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">Com a transformação da
ESCOLA de ARTES para o CURSO de ARTES PLÁSTICAS e tendo de adequar-se ao Decreto
nº 19,851 de 11 de abril de 1930 foi necessário procurar docentes qualificados
e com um extenso currículo do obras realizadas e conhecidas e reconhecidas por
todos.<o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">O contrato com
Lutzenberger foi feito com a Reitoria da UPA quando esta tornou-se efetiva, em
1936, e com a posse de Tasso Corrêa com diretor do IBA-RS. No ano de 1937
Lutzenberger escapou da decisão do ESTADO NOVO de ACÚMULO de CARGOS PÚBLICOS
que atingiu grande parte dos contratos destinados dos seus colegas do IBA-RS e
quase inviabilizou a UPA<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span>[2]</span></span><!--[endif]--></span></a>.
Lutzenberger não tinha outro cargo no Estado </span><span face="" style="color: #c00000;"> </span><span face="" style="line-height: 150%;"><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 70.9pt;">
<span face="" style="line-height: 150%;">Na medida em que o novo
currículo tornou-se efetivo Lutzenberger lecionou Geometria Descritiva,
Perspectiva e Sombras, Arte Decorativa e 1 e 2
no Curso Superior de Artes Plásticas </span><span face="" style="color: #c00000;">(Fig. 07) </span><span face="" style="line-height: 150%;">. Estas mesmas disciplinas eram oferecidas nos
Curso Técnicos de Arquitetura e de Artes Plásticas. No Curso Superior de Arquitetura
ele lecionava Estereometria.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 70.9pt;">
<span face="" style="line-height: 150%;">Além disto, Lutzenberger,
era convocado para as bancas dos exames práticos e orais, destes mesmos cursos,
mas em disciplinas ministradas por outros docentes. Além dos mais era convocada
para formar o JÚRI de SELEÇÃO e PREMIAÇÃO dos sucessivos SALÕES de ARTES
promovidos pelo IBA-RS,<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 70.9pt;">
<span face="" style="line-height: 150%;">As suas duas filhas,
Rose e Madalena, além de sua formação superior no CURSO de ARTES PLÁSTICAS no
IBA-RS e tornarem, ali, docentes e assim providenciaram as obras que constam na
Pinacoteca Barão de Santo Ângelo<o:p></o:p></span></div>
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</div>
<div>
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<!--[endif]-->
<br />
<div id="ftn1">
<div class="MsoFootnoteText">
<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[1]</span></span><!--[endif]--></span></a><span lang="IT"> Estereometria <a href="https://www.infopedia.pt/dicionarios/lingua-portuguesa/estereometria">https://www.infopedia.pt/dicionarios/lingua-portuguesa/estereometria</a><o:p></o:p></span></div>
<div class="MsoFootnoteText">
<br /></div>
</div>
<div id="ftn2">
<div class="MsoFootnoteText">
<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[2]</span></span><!--[endif]--></span></a> Um dos atingidos, por esta medida intempestiva foi o próprio Manuel André da ROCHA o 1º Reitor
da UPA que teve de renuncias ao seu
cargo a favor desembargador<span><o:p></o:p></span></div>
</div>
</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheMxw8iqDXLqDK5zb008_iONbJS-NF8nTBKU-KUX6fJ3SY15aSViIAxWnz3ObTAwTO7vRthsW-wCRTcb6pRfYNwIAmjDWCXSN-xJHfMwIEvik6dKTxJ1vlC1yfw3m8R8fc1OXSzspo_Pbf/s1600/14+-+LUTZENBERGER+e+ESTUDANTES+b+.jpg.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1397" data-original-width="1600" height="348" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheMxw8iqDXLqDK5zb008_iONbJS-NF8nTBKU-KUX6fJ3SY15aSViIAxWnz3ObTAwTO7vRthsW-wCRTcb6pRfYNwIAmjDWCXSN-xJHfMwIEvik6dKTxJ1vlC1yfw3m8R8fc1OXSzspo_Pbf/s400/14+-+LUTZENBERGER+e+ESTUDANTES+b+.jpg.jpeg" width="400" /></a></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span face="" style="color: #c00000;">Fig. 14 </span><b style="color: #c00000; font-family: "arial narrow", sans-serif;">Um
projeto de Joseph LUTZENBERGER</b> <b style="color: #c00000; font-family: "arial narrow", sans-serif;">para a Igreja São Jose e executado, no
local, pelos seus alunos de ARTE DECORATIVA do Curso Superior da ARTES </b><span face="" style="color: #c00000;"><b>PLÁSTICAS</b></span><b style="color: #c00000; font-family: "arial narrow", sans-serif;"> do Instituto de BELAS
ARTES do Rio Grande o Sul </b><span face="" style="color: #c00000;">O conhecimento e a prática da </span><b><span face="" style="color: #c00000; mso-bidi-font-family: "Arial Black"; mso-bidi-font-size: 11.0pt;">Estereometria</span></b><span face="" style="color: #c00000;"> permitia o cálculo
preliminar dos seus efeitos no ambiente
arquitetônico no qual se insere, com naturalidade coerência, esta pintura
</span><b><span face=""><o:p></o:p></span></b></div>
<br />
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<br /></div>
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<b><span face="" style="color: #0070c0;">03 –</span><span face=""> </span></b><span face="">A trajetória de Fernando Corona</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhztCCZuSo2iJAj3LonpjI_maj5-6SmKJq07o_5PFD408RgRQpls2wdKssmmCA7WHPUiO19XTvTDDrYTqZZ2ypSaabYl81_l4UnY6Fic4WLrUw5kvXzfJ9E1mmg-3rzkjCqhjfPCBPAT195/s1600/15+-++CORONA%252C+Fernando+1895-1979+foto+e+assinaturas.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="506" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhztCCZuSo2iJAj3LonpjI_maj5-6SmKJq07o_5PFD408RgRQpls2wdKssmmCA7WHPUiO19XTvTDDrYTqZZ2ypSaabYl81_l4UnY6Fic4WLrUw5kvXzfJ9E1mmg-3rzkjCqhjfPCBPAT195/s400/15+-++CORONA%252C+Fernando+1895-1979+foto+e+assinaturas.JPG" width="252" /></a></div>
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<span face="" style="color: #c00000;">Fig. 15 </span><b style="color: #c00000; font-family: "arial narrow", sans-serif;">O NOME
e a ASSINATURA do artista visual foi uma conquista trazida ao Brasil pela </b><span face="" style="color: #c00000;"><b>MISSÃO</b></span><b style="color: #c00000; font-family: "arial narrow", sans-serif;"> </b><span face="" style="color: #c00000;"><b>ARTÍSTICA</b></span><b style="color: #c00000; font-family: "arial narrow", sans-serif;"> FRANCESA em 1816, Numa visão mais ampla e universal
corresponde à rubrica num contrato de autenticidade da obra, </b><span face="" style="color: #c00000;"> NO
caso da assinatura da obra de arte garante a origem que, num sentido
filosófico, afirma que “a ARTE ESTÁ EM QUEM PRODUZ”, Tudo isto era atropelado e
desconhecido pela ESCRAVIDÃO e pelo PERÍODO COLONIAL BRASILEIRO </span><b><span face=""><o:p></o:p></span></b></div>
<br />
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<br /></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<b><span face=""> </span></b><b><span face="" style="color: #0070c0;">03.1 –</span></b><b><span face=""> </span></b><b><span face="">A
ORIGEM e POSTULADOS ESTÉTICOS</span></b><b><span face=""> de </span></b><span face="">FERNANDO
CORONA</span><b><span face="">. </span></b><b><span face=""> <o:p></o:p></span></b></div>
<div class="MsoNormal" style="line-height: 150%; mso-hyphenate: auto; text-align: justify; text-indent: 70.9pt;">
<span face="" style="line-height: 150%;">Fernando CORONA chegou em Porto Alegre em 1912. Nesta cidade teve a sua
formação de ESCULTOR e MODELAGEM em diversas oficinas do seu pai e ,depois. na
sua própria.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; mso-hyphenate: auto; text-align: justify; text-indent: 70.9pt;">
<span face="" style="line-height: 150%;"> Simultaneamente trabalhava em
escritório de construção civil no qual tinha a função de ARQUITETO. <o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; mso-hyphenate: auto; text-align: justify; text-indent: 70.9pt;">
<span face="" style="line-height: 150%;">Sem uma formação superior regular e acadêmica adaptou um HISTORICISMO ESTÉTICO vigente na
sua terra natal que evoluiu até os
postulados Le Corbusier com quem teve um encontro pessoal em Paris em 1952<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span>[1]</span></span><!--[endif]--></span></a>
anteriormente cimentado pelas propostas
da Carta de Atenas.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; mso-hyphenate: auto; text-align: justify; text-indent: 70.9pt;">
<span face="" style="line-height: 150%;">No Brasil mantinha um contato frequente com Oscar Niemeyer<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span>[2]</span></span><!--[endif]--></span></a>
mediado pelo seu filho Eduardo Corona reforçado pela juventude do seu outro
filho Luís Fernando Corona.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; mso-hyphenate: auto; text-align: justify; text-indent: 70.9pt;">
<span face="" style="line-height: 150%;">A formação intelectual e conceitual de Fernando CORONA deu-se em manuais
de História da Arte que adaptava às suas circunstâncias e ao gosto de uma
burguesia emergente.<o:p></o:p></span></div>
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</div>
<div>
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<!--[endif]-->
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<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<span style="font-size: x-small;"><a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[1]</span></span><!--[endif]--></span></a> EUROPA 1952 : notas de viagem ; 1<sup>o</sup> caderno Porto Alegre
16.01. 1952 – Veneza 09.04.1952. <i>Folhas
de caderno xadrez: 210 mm X 149 mm.</i> 195
p.<i>Acervo descendentes de Fernando
Corona ( 5 )</i><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<span style="font-size: x-small;">EUROPA 1952: notas de viagem
2<sup>o</sup> caderno Roma
11.04.1952 - Porto Alegre 29.07.1952<o:p></o:p></span></div>
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<span style="font-size: x-small;"><i>Folhas de caderno xadrez: 210 mm
X 149 mm.</i>
205 p<i> Acervo descendentes de Fernando
Corona ( 6 )<o:p></o:p></i></span></div>
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<br /></div>
</div>
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<span style="font-size: x-small;"><a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[2]</span></span><!--[endif]--></span></a> A presença de
Oscar Niemeyer em Porto Alegre deve-se a mediação de Eduardo Corona <b>1 – As ARTES e a ARQUITETURA no IBA-RS<o:p></o:p></b></span></div>
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<span style="font-size: x-small;"><a href="http://profciriosimon.blogspot.com/2010/05/01-oscar-niemeyer-em-porto-alegre.html"><span style="color: blue;">http://profciriosimon.blogspot.com/2010/05/01-oscar-niemeyer-em-porto-alegre.html</span></a><o:p></o:p></span></div>
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<b><span style="font-size: x-small;">2- O II
CONGRESSO de ARQUITETURA em PORTO ALEGRE<span style="color: #999999;"><o:p></o:p></span></span></b></div>
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<span style="font-size: x-small;"><a href="http://profciriosimon.blogspot.com/2010/05/niemeyer-em-porto-alegre-02.html"><span style="color: blue;">http://profciriosimon.blogspot.com/2010/05/niemeyer-em-porto-alegre-02.html</span></a><o:p></o:p></span></div>
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<span style="font-size: x-small;">3 – <b>Oscar
NIEMEYER e formatura em 13.04.1949 do 1º Curso Superior
de Urbanismo do Brasil<span style="color: #999999;"><o:p></o:p></span></b></span></div>
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<span style="font-size: x-small;"><a href="http://profciriosimon.blogspot.com/2010/05/niemeyer-em-porto-alegre-03_06.html"><span style="color: blue;">http://profciriosimon.blogspot.com/2010/05/niemeyer-em-porto-alegre-03_06.html</span></a><o:p></o:p></span></div>
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<span style="font-size: x-small;">4 – <b>Lições
de Oscar NIEMEYER aos jovens arquitetos<o:p></o:p></b></span></div>
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<a href="http://profciriosimon.blogspot.com/2010/05/niemeyer-em-porto-alegre-04.html"><span style="color: blue;"><span style="font-size: x-small;">http://profciriosimon.blogspot.com/2010/05/niemeyer-em-porto-alegre-04.html</span></span></a><span><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzlw0RCbE-P6YzGVCdbApDIynFR-HO4TrYlzpx3v7RHQLJ2H7XI4gUvGnyVExB_t7C54SSxVpVEbiO0TyDazn0zJ8r2QDWRaSGy23yXgGO-VweyL8x9OGItPUafSAIO03aBe81xobfC-Wx/s1600/16+-+SOCIEDADE+ESPANOLA.TR%25C3%258DPTICO.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="645" data-original-width="1457" height="176" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzlw0RCbE-P6YzGVCdbApDIynFR-HO4TrYlzpx3v7RHQLJ2H7XI4gUvGnyVExB_t7C54SSxVpVEbiO0TyDazn0zJ8r2QDWRaSGy23yXgGO-VweyL8x9OGItPUafSAIO03aBe81xobfC-Wx/s400/16+-+SOCIEDADE+ESPANOLA.TR%25C3%258DPTICO.jpg" width="400" /></a></div>
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<span face="" style="color: #c00000;">Fig. 16 -<b> </b></span><span face="" style="color: #c00000; mso-fareast-language: PT-BR;"> <b>Este tríptico da fachada da Sociedade Espanhola - projetado e modelado
pelas mãos de Fernando Corona</b>- <b>é uma
síntese da primeira década que o mestre passou
inteiramente no Rio Grande do Sul. </b> A
imagem do ATLANTE - que representa da EUROPA (esquerda da Imagem) - possui evidentes traços do seu próprio rosto. O
outro. ATLANTE representa a AMÉRICA nas
feições de um índio No centro a imagem de sua fecunda Espanha materna que é
contemplada pela imagem dos dois ATLANTES <a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: #c00000;">[1]</span></span><!--[endif]--></span></a>. </span><span face="" style="mso-fareast-language: PT-BR;"><o:p></o:p></span></div>
<br />
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<span face="" style="line-height: 150%;">Fernando CORONA, ao contrário
de LUTZENBERGER, estava aberto às frequentes e contínuas mudanças e era
flexível e sensível à ATUALIZAÇÃO de sua INTELIGÊNCIA. Esta flexibilidade, e
abertura ao mundo e à sociedade eram peneiradas pelos seus constantes contatos
com o mundo intelectual mundial e local. Ao contrário de LUTZENBERGER deixou
uma extensa produção escrita que ainda é inédita, na sua maior parte.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 70.9pt;">
<span face="" style="line-height: 150%;">No aspecto visível para
todos é possível um percurso destas frequentes atualizações na materialidade de
suas obras arquitetônicas construídas e que ainda estão na paisagem urbana de
diversas cidades do Rio Grande do Sul. Num sintético percurso é possível
visualizar as suas diversas e profundas influências desde a sua infância nas
costas do Mar Cantábrico - entre Santander,
San Sebastian e Bilbao- até a sua maturidade em Porto Alegre. <o:p></o:p></span></div>
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</div>
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<!--[endif]-->
<br />
<div id="ftn1">
<div class="MsoFootnoteText">
<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[1]</span></span><!--[endif]--></span></a> O pesquisado Arnoldo
DOBERSTEIN faz a distinção entre os ATLANTES - VELHO e JOVEM - da Confeitaria
Rocco de Porto Alegre devidos a Giuseppe Gaudenzi dos ATLANTES de CORONA que
representam o Europeu e o Indígena.<o:p></o:p></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjePOKQ6rZFZVL0Z8V14GiwIpqnVbE6ThKvgVARWX7uZ9SVySk8ok_qHXCUDY_LKeByqY5TBI0UZ1NUInLR3PJTJA3cgnh1b5RvB5y_o_HDWBi7oAsgT0ic1S5cV9YohPM5cmJMSaK48WXi/s1600/17+-++CORONA%252C+Fernando++ociedade.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="895" data-original-width="956" height="373" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjePOKQ6rZFZVL0Z8V14GiwIpqnVbE6ThKvgVARWX7uZ9SVySk8ok_qHXCUDY_LKeByqY5TBI0UZ1NUInLR3PJTJA3cgnh1b5RvB5y_o_HDWBi7oAsgT0ic1S5cV9YohPM5cmJMSaK48WXi/s400/17+-++CORONA%252C+Fernando++ociedade.jpeg" width="400" /></a></div>
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<span face="" style="color: #c00000;"><a href="https://www.flickr.com/photos/paulo_heuser/3473844809/in/photostream/">https://www.flickr.com/photos/paulo_heuser/3473844809/in/photostream/</a><o:p></o:p></span></div>
<br />
<div align="center" class="MsoNormal" style="text-align: center;">
<span face="" style="color: #c00000;"><a href="https://www.jornaldocomercio.com/_conteudo/2017/07/colunas/comeco_de_conversa/576542-restauracao-no-capricho.html">https://www.jornaldocomercio.com/_conteudo/2017/07/colunas/comeco_de_conversa/576542-restauracao-no-capricho.html</a><o:p></o:p></span></div>
<div align="center" class="MsoNormal" style="text-align: center;">
<span face="" style="color: #c00000;">Fig. 17 </span><b style="color: #c00000; font-family: "arial narrow", sans-serif;">O
prédio da SOCIEDADE SOCORROS </b><span face="" style="color: #c00000;"><b>MÚTUOS</b></span><b style="color: #c00000; font-family: "arial narrow", sans-serif;"> da
ESPANHA é um projeto concebido por Fernando Corona onde além de cultivar a
memória de sua origem, decorou a fachada executada pelas suas próprias mãos</b><span face="" style="color: #c00000;">
e</span><b style="color: #c00000; font-family: "arial narrow", sans-serif;"> no lugar da obra, </b><span face="" style="color: #c00000;">Corona destacava
que o projeto era doado gratuitamente ao proprietário O autor cobrava, seu projeto, por meio da
remuneração pelo decoração da fachada
que fazia o papel de cartão de publicidade e identidade do prédio e aos fins
aos quais se destinava. </span><b><span face=""><o:p></o:p></span></b></div>
<div align="center" class="MsoNormal" style="text-align: center;">
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<b><span face=""> </span></b><b><span face="" style="color: #0070c0;">03.2 – </span></b><b><span face=""> </span></b><b><span face="">A
OBRA </span></b><b><span face="">de
</span></b><span face="">Fernando
CORONA</span><b><span face=""> no RIO GRANDE do SUL</span></b><b><span face=""> <o:p></o:p></span></b></div>
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<span face="" style="line-height: 150%;">Corona chegou o Brasil
em 1912 com a idade de 17 anos com a formação formal da 4ª serie primário e um
estágio num escritório de advocacia em Santander na Cantábria espanhola. Veio a
procura do pai escultor e arquiteto que
havia passado e trabalhado em Buenos Aires antes de ser contratado por Jacob
Aloys FRIEDERICHS (1868-1950)<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span>[1]</span></span><!--[endif]--></span></a>
para realizar uma serie de obras em
Porto Alegre da época de Carlos BARBOSA.<o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">Na sua obra pessoal e
autoral da SOCIEDADE ESPANHOLA do MUTUO SOCORRO </span><span face="" style="color: #c00000;">( figuras 16 e 17)</span><span face="" style="line-height: 150%;">, Corona faz jorrar e se
retorcer todo esta lado emocional da terra natal. Já no prédio do Hospital São
Francisco da Santa Casa de Porto Alegre (1925) adota a racionalidade funcional
que ira guiar os seus projetos do Instituto de Educação Flores da Cunha (1934).
Dois anos depois (1937) o prédio das Lojas Guaspari e o Clube Social de São
Gabriel. Junto com o seu filho Luís Fernanda irá enfrentar os desafio do Jaguaribe
(1952) para o seu amigo Romeu PIANCA para
quem havia projetado diversas salas de cinema. Neste mesmo ano teve um encontro
pessoal com Le Corbusier mediado pelo seu colega, do IBA-RS, Demétrio Ribeiro.
Apesar de sua abertura e flexibilidade estética sempre encontrava um espaço e
oportunidade para realizar uma obra distinta do engenheiro, do empresário ou
atualidade do cliente. <o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">Certamente a residência
(1950) do mineiro Guilhermino Cezar<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span>[2]</span></span><!--[endif]--></span></a>,
conjuga as experiências de CORONA nas Alterosas conjugado aos materiais, o urbanismo
e as técnicas atuais.<o:p></o:p></span></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[1]</span></span><!--[endif]--></span></a> Jacob
Aloys FRIEDERICHS <a href="https://pt.wikipedia.org/wiki/Jacob_Aloys_Friedrichs">https://pt.wikipedia.org/wiki/Jacob_Aloys_Friedrichs</a><o:p></o:p></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[2]</span></span><!--[endif]--></span></a> Residência
Guilhermino CEZAR <a href="https://www.lume.ufrgs.br/bitstream/handle/10183/6694/000445369.pdf?sequence=1">https://www.lume.ufrgs.br/bitstream/handle/10183/6694/000445369.pdf?sequence=1</a>
(fig 21-23<span>)<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-XeV8cze12GSqEul0B4VoYfFA59ZAaYS-kP7QonTfnSqw-hYe2DwgkxoxCmn6lI94NSxG6gc3VJ5xnlE6wHcd4mqRyXmvy0xItjnvL21_de7jHSSVEQ8PqK32BTFDt7oq1v4PcY-GlUEA/s1600/18+-+1937-8++CLUBE+COMERCIAl+de+S%25C3%2582O+GABRIEL.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="781" data-original-width="1193" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-XeV8cze12GSqEul0B4VoYfFA59ZAaYS-kP7QonTfnSqw-hYe2DwgkxoxCmn6lI94NSxG6gc3VJ5xnlE6wHcd4mqRyXmvy0xItjnvL21_de7jHSSVEQ8PqK32BTFDt7oq1v4PcY-GlUEA/s400/18+-+1937-8++CLUBE+COMERCIAl+de+S%25C3%2582O+GABRIEL.jpg" width="400" /></a></div>
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<span face="">FERNANDO CORONA
(1895-1979) – ARQUITETO </span><span face="">ESTUDOS de ARTE nº 202 –</span><span face=""><o:p></o:p></span></div>
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<span face=""><a href="http://profciriosimon.blogspot.com.br/2017/04/202-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/04/202-estudos-de-arte.html</a></span><span face=""><o:p></o:p></span></div>
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<span face="" style="color: #c00000;">Fig. 18 <b>O
prédio do CLUBE SOCIAL da cidade de Rosário do Sul é de 1937 e é contemporâneo e
simultâneo ao prédio do prédio das LOJAS GUASPARI <a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="color: #c00000;">[1]</span></b></span><!--[endif]--></span></a>
do centro Histórico de Porto Alegre </b>A facchada deste prédio consta um
mural, em baixo relevo, representando uma índia nua o que provocou um alvoroço
na cidade, Este alvoroço Fernando CORONA
conta no seu diário do ano de 1937 </span><b><span face=""><o:p></o:p></span></b></div>
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<span face="" style="line-height: 150%;"> Estes projetos de prédios eram, inicialmente, para
dar vazão ao ESCULTOR e obras de cunho visual e de comunicação plásticas. Na medida
do passar do tempo as obras de ESCULTURA e de ARQUITETURA tornaram caminhos
distintos. A ARQUITETURA de CORONA tornou-se funcional e com valores plásticos
em si mesmo. Nesta época as suas obras de ESCULTURA também tomaram vida própria </span><span face="" style="color: #c00000; mso-fareast-language: PT-BR;">(Fig. 21) – </span><span face="" style="line-height: 150%;"> e
independente da ARQUITETURA.<o:p></o:p></span></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[1]</span></span><!--[endif]--></span></a><span lang="IT"> Edificio GUASPARI <a href="https://www.caurs.gov.br/edificio-guaspari-historia-preservada/">https://www.caurs.gov.br/edificio-guaspari-historia-preservada/</a><o:p></o:p></span></div>
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<span face=""><a href="http://www.ufrgs.br/acervoartes/obras/pintura/pintura/alice-soares-3/image_view_fullscreen">http://www.ufrgs.br/acervoartes/obras/pintura/pintura/alice-soares-3/image_view_fullscreen</a>
<o:p></o:p></span></div>
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<span face="">01-Leda FLORES;
02 Fernando CORONA; 03-Dorothe
PINTO SILVA; 04 –Teresa CORRÊA GOMES
GRUBER; 05-Cristina Helfensteller BALBÃO 06-Alice Ardohain SOARES (autora desta
pintura)</span><span face="" style="mso-fareast-language: PT-BR;"><o:p></o:p></span></div>
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<span face="" style="color: #c00000; mso-fareast-language: PT-BR;">Fig. 19– <b>A geração de escultoras - proveniente do
atelier do mestre Fernando Corona- fez
carreira e formou o seu nome individual no âmbito da cultura sul-rio-grandense </b>d
Esta nova geração estava concretizando o
projeto da maturidade do mestre de “<i>DEIXAR
de ser ESCULTOR para FORMAR ESCULTORES</i>”. <o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">Esta expressão das ARTES
VISUAIS também se sublimou na medida em que o ESCULTOR dava lugar ao seu
projeto de FORMAÇÃO de ESCULTORES.<o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">Estes estudantes de
ESCULTURA fizeram notáveis carreiras autônomas no lugar de seu mestre que lhes
cedia passo e espaços.<o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">Mais adiantado na vida o
MEMORIALISMO tomou conta de suas energias, tempo e preocupações existenciais
Assim brotaram os LIVROS, as CRÔNICAS de ARTES nos jornais alimentados pelo
CONVÍVIO com os diversos segmentos das ARTES VISUAIS de PORTO ALEGRE e do
Brasil.<o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">Periodicamente ele
tomava distância deste seu universo em longas ou curtas viagens pelo Velho
Continente, América Latina<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span>[1]</span></span><!--[endif]--></span></a>.
No Brasil seus destinos eram as águas termais, o Rio de Janeiro, São Paulo e
Brasília<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span>[2]</span></span><!--[endif]--></span></a>.
Na antiga capital federal o seu ponto de encontros era na ESCOLA NACIONAL de
BELAS ARTES (ENBA) onde estudava o seu filho Eduardo. Encontrava também, ali, Helios SEELINGER que estava planejando transformar
o prédio da ENBA em MUSEU de BELAS ARTES. Interagia com Oscar NIEMEYER no
circuito do seu filho<o:p></o:p></span></div>
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<b><span face="" style="color: #0070c0;">03.3 –</span></b><b><span face=""> </span></b><b><span face="">INTERAÇÕES de </span></b><span face="">Fernando Corona</span><b><span face=""> com o INSTITUTO
de BELAS ARTES do RIO GRANDE do SUL</span></b><b><span face="">.<o:p></o:p></span></b></div>
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<b><span face="" style="line-height: 150%;"> </span></b><span face="" style="line-height: 150%;">Fernando CORONA
ingressou como docente no Instituto de Belas Artes do Rio Grande do Sul pelas
mesmas razões de Joseph LUTZENBERGER e logo após dele. O CURSO de ARTES
PLÁSTICAS adequava-se ao Decreto nº 19,851 de 11 de abril de 1931 com um currículo
diversificado, numerosos candidatos e com um rigoroso vestibular específico.
Apesar de sua notória falta de formação escolar formal, CORONA era portador de
um extenso currículo de obras realizadas e conhecidas e reconhecidas. <o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">Ele mesmo estranhou o
seu contrato para a UNIVERSIDADE no registro no seu Diário<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span>[3]</span></span><!--[endif]--></span></a>:<o:p></o:p></span></div>
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<i><span face="" style="line-height: 200%;">“o amigo Tasso Corrêa me convida para fundar o
Curso de Escultura no IBA. Como era possível a um homem como eu que apenas
completara na Espanha o curso primário, ingressar agora como professor
contratado numa Escola Superior? A única coisa a meu favor eram os títulos
conquistados em concursos públicos e nada mais”<o:p></o:p></span></i></div>
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<span face="" style="line-height: 150%;">Pode-se pensar num “notório
saber” tanto em ARQUITETURA com ESCULTURA que interessavam aio novo projeto do
IBA-RS. Este “notório saber” dificilmente podia ser encontrado em outro e numa
mera exigência burocrática. Caso este contrato tivesse falhado a ARTE do RIO
GRANDE do SUL seria privada de uma notável safra de novos ESCULTORES como se
verificou posteriormente. A partir deste ponto da vida percebe-se do lado
pessoal de CORONA, um esforço continuado e atento para transformar em
complementariedade esta contradição acadêmica. Não se acomodou e jamais burocratizou
e tomou vantagens pessoas do seu titulo de PROFESSOR CATEDRÁTICO e de DOUTOR
obtido com a defesa pública da sua tese de cátedra<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span>[4]</span></span><!--[endif]--></span></a>
Este esforço e vigilância são visíveis na continuada produção intelectual em
livros, crônicas e colaborações com outros doutores e catedráticos e que
envergonha muitos acomodados que permanecem passivos na zona de conforto da
“POSSE de um CARGO na UNIVERSIDADE”.<o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">O contrato de CORONA foi
realizado, ainda, com a Reitoria da UPA.
Ele mesmo narrou as circunstâncias deste contrato. Numa cena quase fotográfica
ele registrou no seu Diário onde escreveu:<o:p></o:p></span></div>
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<i><span face="" style="line-height: 150%;">“no dia 12 de maio de 1938. compareci à Reitoria da
Universidade de Porto Alegre e assinei o contrato de professor para as cadeiras
de Modelagem e Escultura com duração de um ano e vencimentos de um conto e
duzentos mil reis<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span>[5]</span></b></span><!--[endif]--></span></a>. Não
era nada mau, pois com um conto e oitocentos que ganhava no Azevedo Moura &
Gertum completava uma entrada mensal de três contos de reis, na época um
ordenadão. Assinou o contrato comigo o Reitor Aurelio da Lima Py e o Secretário
Geral Pery Pinto Diniz. Foram testemunhas do ato Luís Maristany e José
Lutzenberger, também professores contratados para as Cadeiras de Anatomia e
Pintura e Geometria Descritiva e Perspectiva e sombras respectivamente”.<o:p></o:p></span></i></div>
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<span face="" style="line-height: 150%;">Esta cena passou-se no
andar térreo do atual prédio da Faculdade de Direito da UFRGS, sede da reitora
da UPA. <o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">O contrato de CORONA foi
posterior à decisão do ESTADO NOVO de ACÚMULO de CARGOS PÚBLICOS que atingiu
grande parte dos seus colegas e quase inviabilizou a UPA<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span>[6]</span></span><!--[endif]--></span></a>
e muitos contratos destinados ao IBA-RS. CORONA nunca teve cargo público
anterior, muito menos concomitante </span><span face="" style="color: #c00000;"> </span><span face="" style="line-height: 150%;">Apesar do contrato ele
só se tonou prático no ano de 1939. Neste meio tempo CORONA foi trabalhar no
projeto da CAIXA ECONÔMICA FEDERAL do Rio de Janeiro.<o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">CORONA não só lecionou
MODELAGEM e ESCULTURA, no Curso Superior de Artes Plásticas</span><span face="" style="color: #c00000; mso-bidi-font-family: Arial; mso-fareast-language: PT-BR;"> (</span><span face="" style="color: #c00000;">Fig. 07) </span><span face="" style="line-height: 150%;">como é o pioneiro no
ensina destas disciplinas no nível universitário no Rio Grande do Sul. A disciplina de MODELAGEM era oferecida nos
Curso Técnicos de Arquitetura e Artes Plásticas, Esta mesma disciplina de MODELAGEM
ele oferecia ao Curso Superior de Arquitetura na forma de MAQUETES de ARGILA<o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">Além disto, CORONA era
convocado para as bancas dos exames práticos e orais, destes mesmos cursos em
disciplinas ministradas por outros docentes. Além do mais era convocado para
formar o JÚRI de SELEÇÃO e PREMIAÇÃO dos sucessivos SALÕES de ARTES promovidos
pele IBA-RS.<o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">Os seus dois filhos tiveram
formação superior em ARQUITETURA. Eduardo CORONA<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span>[7]</span></span><!--[endif]--></span></a>
na EBA-URJ e Luís Fernando CORONA<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span>[8]</span></span><!--[endif]--></span></a>
no CURSO de ARQUITETURA do IBA-RS. Eduardo tornou-se professor da FAU-USP
enquanto Luís Fernando lecionou PERSPECTIVA e SOMBRAS.<o:p></o:p></span></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[1]</span></span><!--[endif]--></span></a> VIAGEM aos INCAS 1955 1956
- 88 f. <i>Folhas de linha xadrez – caderno simples: 210 mm X 149 mm Acervo descendentes de
Fernando Corona ( 6 )</i><o:p></o:p></div>
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VIAGEM a CUBA – 1962 notas
de viagem - 199 f. <i>Folhas
de linhas simples em caderno espiral:
210 mm X 149 mm.</i> <i>Acervo
descendentes de Fernando Corona (
9 )</i><o:p></o:p></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[2]</span></span><!--[endif]--></span></a> COISAS MINHAS : 1962 1965 Brasília e outros alpistes 85 f. 06.08. 1962
26.11.1965.<i>Folhas sem linhas
caderno simples: 210 mm X 149 mm.</i> <i>Acervo descendentes de Fernando Corona ( 10
)</i><o:p></o:p></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[3]</span></span><!--[endif]--></span></a> CAMINHADA de FERNANDO CORONA: Tomo I. 01 de janeiro de 1911 até dezembro
de 1949 – donde se conta de como saí de casa e aqui fiquei para sempre: nasci num lugar e renasci
em outro onde encontrei amor. Tomo I 604 f. <i>Folhas
de arquivo: 210 mm X 149 mm.Acervo
descendentes de Fernando Corona 1 )</i><o:p></o:p></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[4]</span></span><!--[endif]--></span></a> CORONA, Fernando (1895-1979). <b>Fídias,
Miguel Ângelo e Rodin</b>: tese de concurso
para professor catedrático de
escultura e modelagem do Instituto de de Belas Arts da Universidade de Porto
Alegre. Porto Alegre: Imprensa oficial, 1938, 83 p il. <o:p></o:p></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[5]</span></span><!--[endif]--></span></a> Um CONTO
de REIS conversão em <a href="https://www.youtube.com/watch?v=pGINxiO2Eaw">https://www.youtube.com/watch?v=pGINxiO2Eaw</a><o:p></o:p></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[6]</span></span><!--[endif]--></span></a> Um dos atingidos, por esta medida intempestiva foi o próprio Manuel André da ROCHA o 1º Reitor
da UPA que teve de renuncias ao seu
cargo a favor desembargador<o:p></o:p></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[7]</span></span><!--[endif]--></span></a> Eduardo
CORONA <a href="https://pt.wikipedia.org/wiki/Eduardo_Corona">https://pt.wikipedia.org/wiki/Eduardo_Corona</a><o:p></o:p></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[8]</span></span><!--[endif]--></span></a> - Luís
Fernando CORONA <a href="https://lume.ufrgs.br/handle/10183/18362">https://lume.ufrgs.br/handle/10183/18362</a><o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSdW1UBAoboeUyzMwg1J87Iw8Uskdj_nyv4j50xZ1wBuTEMUWVvSSD79TEhbY-eixaz1IpQ95D3fR2BCmWsRBVWzT2nrFkuROqTbsJMPZ1X6VOE3ZjPqKRgoQvXmHPIj8NkAzTouNA293G/s1600/20++030e+-+LOCATELLI+Aldo++Mural+8.+andara+-+CORONA.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="555" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSdW1UBAoboeUyzMwg1J87Iw8Uskdj_nyv4j50xZ1wBuTEMUWVvSSD79TEhbY-eixaz1IpQ95D3fR2BCmWsRBVWzT2nrFkuROqTbsJMPZ1X6VOE3ZjPqKRgoQvXmHPIj8NkAzTouNA293G/s400/20++030e+-+LOCATELLI+Aldo++Mural+8.+andara+-+CORONA.JPG" width="277" /></a></div>
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<span face="" style="color: #c00000;">Fig. 20 <b> No mural de Aldo Locatelli do ano de 1958 - o
mestre e sucessor de Joseph LUTZENBERGER
– captou não só os traços fisionomia Fernando CORONA mas a pose de alguém que inicia e principia os seus estudantes na arte da ESCULTURA
e da MODELAGEM que ele ministrou de 1938
até 1965 no Instituto de BELAS ARTES do Rio Grande o Sul, </b>Neste mural
Locatelli cercou Fernando Corona
com seus discípulos dos quais o
mestre sempre andava acompanhado. <o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">As relações de Joseph
Lutzenberger e de Fernando CORONA com o IBA-RS diferem no aspecto das suas iniciativas
administrativas, sociais e de agremiações de toda ordem.<o:p></o:p></span></div>
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<span face="" style="line-height: 150%;"> Em consequência é difícil apontar, no
ensimesmado LUTZENBERGER, algum prosélito ou seguidor de suas pesquisas
estéticas ou atividade continuada numa agremiação de ARTES VISUAIS. Enquanto isto
o expansivo Fernando CORONA estava rodeado permanentemente com uma corte de
estudantes, discípulos e prosélitos</span><span face="" style="color: #c00000;"> (Fig. 20)</span><span face="" style="line-height: 150%;">. Entre estes destacam-se especialmente os seus estudantes de ESCULTURA.<o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">No aspecto
administrativo institucional Fernando CORONA era membro constate da COMISSÃO
TÉCNICA ADMINISTRATIVA (CTA). Este pertencimento, ações e propostas são
facilmente verificáveis nas atas CTA-IBA-RS. Nestas atas não se encontrou
LUTZENBERGER exercer alguma função administrativa além daquelas do magistério e
as obrigações decorrentes.<o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">Corona foi agraciado com
o titulo de PROFESSOR EMÉRITO pela UFRGS Enquanto se desconhece qualquer
honraria conferida a LUTZENBERGER.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhSM7Fno32QxAdeesWot_IN-GGnOUJbm-xwwM1MEso2RpqZ5D4YCfL9rEQA45j0-gNPJAubzjYU5SuFJXJnWDl15fr6D92Pe7ltbQU8A6Hj-N7r8JGPAobfVGaV7vTQ5Nry1hdaQ7vHmBx/s1600/21+-+09+DE+FRANCESCO.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="736" data-original-width="1273" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhSM7Fno32QxAdeesWot_IN-GGnOUJbm-xwwM1MEso2RpqZ5D4YCfL9rEQA45j0-gNPJAubzjYU5SuFJXJnWDl15fr6D92Pe7ltbQU8A6Hj-N7r8JGPAobfVGaV7vTQ5Nry1hdaQ7vHmBx/s400/21+-+09+DE+FRANCESCO.jpg" width="400" /></a></div>
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<span face="">FERNANDO CORONA “<i>José Di Francesca s</i>” in
Espaço nº 4 - dez.1949<o:p></o:p></span></div>
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<span face="" style="color: #c00000; mso-fareast-language: PT-BR;">Fig. 21 – </span><b><span face="" style="color: #c00000;">Aldo Locatelli incluiu, no mural de do ano de 1958, a imagem da obra de Fernando CORONA<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="color: #c00000;">[</span><span style="color: #c00000;"><span style="font-size: x-small;">1]</span></span></b></span><!--[endif]--></span></a><span style="font-size: x-small;">
</span>inspirada nas feições </span></b><b><span face="" style="color: #c00000; mso-fareast-language: PT-BR;">de José de Francesco (1895-1967) Este pintor, empresário do cinema, da publicidade
e da decoração era um artista irrequieto
, falante e expressivo típico emergido
do meio cultural de Porto Alegre<sup><a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn2" title=""><span style="font-size: xx-small;"><!--[if !supportFootnotes]--><b><sup><span style="color: #c00000;">[</span></sup></b></span></a></sup></span></b><b><span face="" style="color: #c00000;"><span style="font-size: xx-small;"><a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn2" name="_ftnref2" title=""><sup><b><sup><span style="color: #c00000;">2]</span></sup></b></sup></a>.</span> </span></b><b><span face="" style="color: #c00000; mso-fareast-language: PT-BR;">Esta pessoa era uma figura em movimento perpetuo e com uma obra multifacetada que
sempre fascinou Fernando Corona<span style="font-size: x-small;"><a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn3" name="_ftnref3" title=""><sup><b><sup><span style="color: #c00000;">[3]</span></sup></b></sup></a>
</span></span></b><span face="" style="color: #c00000;">Ao mesmo tempo tornou-se um colecionador da obra<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn4" name="_ftnref4" title=""><sup><sup><span style="color: #c00000;"><span style="font-size: x-small;">[4]</span></span></sup></sup></a>
deste Nesta obra Fernando CORONA ultrapassa o arquétipo do “OVO” na sua interpretação
da face do seu amigo</span></div>
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<span face=""> </span><span face="" style="line-height: 150%;">A tarefa mais importante, a
qual Fernando CORONA se entregou no IBA-RS, era o PROCESSO ENSINO-APRENDIZAGEM e da qual nunca se eximiu e deixou significativos registros e discípulos, Neste
PROCESSO de ENSINO APRENDIZAGEM Fernando CORONA distinguia a disciplina de
ESCULTURA da disciplina de MODELAGEM. Esta MODELAGEM era inteiramente orientada
pelos postulados tayloristas<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span>[5]</span></span><!--[endif]--></span></a>
as ERA INDUSTRIAL e dada par grupos de 30 alunos, Enquanto isto na ESCULTURA
transmitia a sua experiência adquirida ao processo da OFICINA e ARTESANATO
PERSONALIZADO. Nas suas aulas de ESCULTURA estava atento aos poucos e
selecionados estudantes dos quais era orientador e avaliador severo, mas
respeitando o potencial de cada um com os seus progressos e descoberta
individuais.</span><b><span face="" style="line-height: 150%;"><o:p></o:p></span></b></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[</span><span face="">1]</span></span><!--[endif]--></span></a> FERNANDO CORONA (1895-1979) – ESCULTOR – ESTUDOS de ARTE Nº 201<o:p></o:p></div>
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<b><a href="http://profciriosimon.blogspot.com.br/2017/04/201-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/04/201-estudos-de-arte.html</a><o:p></o:p></b></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[2]</span></span><!--[endif]--></span></a> - <b>FRANCESCO</b>, José de. <b>Reminiscências de um artista</b>. Porto
Alegre; s/editora. 1961.<o:p></o:p></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span face=""><!--[if !supportFootnotes]--><span class="MsoFootnoteReference">[3]</span><!--[endif]--></span></span></a><span face=""> Fernando Corona
escreve em 1931 no seu Diário “</span><i><span face="">Estudava anatomia e desenhava a noite com um grupo de rapazes orientados
pelo pintor Augusto Gabrielli. Aí conheci um homem, (era rapaz como eu) de uma
humildade como jamais havia visto. Chamava-se José de Francesco e falava
espanhol comigo por haver vivido com seus pais na República Argentina. Era tão
humilde que tremia </span></i><i><span face="">as mãos quando
alguém chegava perto do lugar onde ele estava a desenhar modelo vivo. Minha
amizade por ele era sincera e o foi a vida toda, até a sua morte. Nunca
abandonei a carreira de José de Francesco. Como ele não chegou a entender o
segredo da pintura e como seu desenho fosse precário, seus quadros eram
ingênuos. Fiz muitas exposições aqui, no interior do estado e na Argentina e
Uruguai. Nunca o perdi de vista</span></i><span face="">”.<o:p></o:p></span></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[4]</span></span><!--[endif]--></span></a> - Obra de José de Francesco da coleção de Fernando
Corona doado ao MARGS <a href="http://www.margs.rs.gov.br/catalogo-de-obras/J/16863/">http://www.margs.rs.gov.br/catalogo-de-obras/J/16863/</a><o:p></o:p></div>
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[5]</span></span><!--[endif]--></span></a> <b>TAYLOR </b>, Frederick Winslow
(1856-1915). <b> Princípios de administração científica. </b>7.
ed. São Paulo: Atlas, 1980, 134 p.<b style="font-size: 8pt;"><o:p></o:p></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv3ytDNDVuK6C-iiS2hwZ6TRINzIMw3ff0kMEKOh2zcEH_7FMHDqlKt4n4xd15FkgkmRrB_Zkh9zzsdjBBalEJgU90aJl_iDiZf2jrECaCj9QnF8Qgg3QOT1NL-Lg5qzIU4w1xkaHkBJQJ/s1600/22+-+MODELAGEM+e+ESCULTURA-+Fernado+CORONA.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="851" data-original-width="1451" height="233" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv3ytDNDVuK6C-iiS2hwZ6TRINzIMw3ff0kMEKOh2zcEH_7FMHDqlKt4n4xd15FkgkmRrB_Zkh9zzsdjBBalEJgU90aJl_iDiZf2jrECaCj9QnF8Qgg3QOT1NL-Lg5qzIU4w1xkaHkBJQJ/s400/22+-+MODELAGEM+e+ESCULTURA-+Fernado+CORONA.jpg" width="400" /></a></div>
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<span face="" style="color: #c00000;">Fig. 22 <b>Comparação
do processo ensino-aprendizado orientado Fernando CORONA<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="color: #c00000;">[1]</span></b></span><!--[endif]--></span></a>A
No entanto em ambos dominavam a seriedade,
a coerência com tempo, lugar e da sociedade de origem dos seus estudantes </b> Esta
coerência e seriedade<b> </b>deixou numerosos vestígios entre os
quais se destacam os três álbuns
fotográficos e que o mestre organizou e
deixou para a posteridade (figuras 23,
24 e 25) e que se encontram no acervo do
Arquivo do Instituo de Artes da UFRGS</span><b><span face=""><o:p></o:p></span></b></div>
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<span face=""> <o:p></o:p></span><span face="" style="color: #6aa84f;">[</span><b style="color: #6aa84f; font-family: "arial narrow", sans-serif;"><i>CLIQUE SOBRE o GRÁFICO para LER</i></b><span face="" style="color: #6aa84f;">.</span></div>
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<span style="color: #6aa84f;"><span face="" style="font-size: x-small;">O numero do gráfico refere-se ao numero que recebei na tese ORIGENS do INSTITUTO de ARTES]</span></span></div>
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<b><span face="" style="line-height: 150%;">CONCLUSÕES</span></b><span face="" style="line-height: 150%;"><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 70.9pt;">
<span face="" style="line-height: 150%;">A crise provocada pelo
ESTADO NOVO BRASILEIRO rompeu antigos paradigmas administrativos, didáticos e
estéticos no INSTITUTO de BELAS ARTES do RIO GRANDE do SUL.. O setor mais
atingido, ali, foi o CURSO de ARTES PLÁSTICAS. Positivamente multiplicaram-se,
ali, os cursos, o número e as diversas especializações de docentes. Os
estudantes tiveram de serem selecionados devido ao crescente do numero de
candidatos muito superiores ás vagas disponíveis no antigo sobrado. Em
consequência este foi demolido e construído um especifico para as ARTES,<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 70.9pt;">
<span face="" style="line-height: 150%;">Negativamente abria
espaço para o POPULISMO na UNIVERSIDADE A QUANTIDADE nem sempre EXPRESSA a QUALIDADE
do lado interno. No lado externo os formandos do CURSO SUPERIOR UNIVERSITÁRIO
de ARTES PLÁSTICAS do IBA-RS eram percebidos como um corpo estranho pelos velhos
hábitos da dependência e da servidão. Estes egressos tiveram de lutar, muitas vezes fracassavam e,
na maioria das vezes, se calavam dois anos após a sua imersão nos CURSOS
SUPERIORES.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 70.9pt;">
<span face="" style="line-height: 150%;">No entanto permaneceram,
nas suas mentes o ensino, as concepções, os projetos, as obras físicas de
Joseph LUTZENBERGER e de Fernando CORONA. Destes DOIS DOCENTES de ARTES
permaneceu a sua carga de expressões da sua AUDÁCIA, da suas ENERGIAS e da sua COERÊNCIA
com na INSTITUIÇÃO com o seu TEMPO, SOCIEDADE e com o seu LUGAR.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 70.9pt;">
<span face="" style="line-height: 150%;">É fatal a ENTROPIA de
suas memórias destes DOIS DOCENTES para aqueles que não tiveram estas
experiências pessoais e diretas e que vivem as circunstâncias de uma outra
SOCIEDADE de um outro TEMPO.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 70.9pt;">
<span face="" style="line-height: 150%;">O que PERMANECE é o
PENSAMENTO destes DOIS DOCENTES. As suas OBRAS FÍSICAS são suportes do ESPANTO
que é o inicio de toda FILOSOFIA. Na sua materialidade são portadoras de algo
diferente. Estas OBRAS SÃO PRIMORDIAIS carregadas de signos e escadas materiais
para a imaterialidade do PENSAMENTO destes DOIS DOCENTES.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 70.9pt;">
<span face="" style="line-height: 150%;">As suas circunstâncias
necessitam de muito mais atenção e realces do que a presente postagem que
permanece </span><span face="" style="line-height: 150%;">nos primórdios de uma NARRATIVA desenvolvida pelo MARGS no
âmbito de um TEMPO INDETERMINADO</span><span face="" style="line-height: 150%;">. Esta </span><span face="" style="line-height: 150%;">NARRATIVA</span><span face="" style="line-height: 150%;"> não pretende ser definitiva
e muito menos totalizante. Cabe-lhe apenas inserir-se na busca constante</span><span face="" style="line-height: 150%;"> e
da qual o convite da AAMARGS é apenas das testemunhas do 1º SEMESTRE de 2020.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 70.9pt;">
<span face="" style="line-height: 150%;">Permane</span><span face="" style="line-height: 150%;">ce, em aberto, o<b> PROPÓSITO GERAL</b> de criar outra
NARRATIVAS no contexto das ARTES VISUAIS no limite geográfico do estado do Rio
Grande do Sul. Esta abertura aponta para no projeto do</span><span face="" style="line-height: 150%;">
LABORATÓRIO DE HISTÓRIA das ARTES VISUAIS do RIO GRANDE do SUL ainda no devir.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 70.9pt;">
<span face="" style="line-height: 150%;">No
presente, este LABORATÓRIO, constitui um CONVITE GERAL e ABERTO para TODOS
AQUELES que de FATO GOSTAM de ARTE. GOSTAM e se DEDICAM como os DOIS DOCENTES
que foram fieis, a este PROJETO, até o final de suas vidas e do INSTITUTO de
ARTES que foi criado, para tal fim, no dia 22 de abril de 1908.</span><span face="" style="line-height: 150%;"><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 70.9pt;">
<br /></div>
<div align="center" class="MsoNormal" style="line-height: 150%; text-align: center;">
<span face="" style="line-height: 150%;">FONTES BIBLIOGRÁFICAS<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 35.45pt; mso-hyphenate: auto; text-align: justify; text-indent: -35.45pt;">
<b><span face="">ATCON</span></b><span face="">, Rudolph P.<b> ATCON e a Universidade Brasileira.</b>
(Coordenação de José Serrano).
Rio de Janeiro: Techné<b>. </b></span><span face="" lang="ES">1974, 322p</span><a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn2" name="_ftnref2" title=""><sup><span face=""><!--[if !supportFootnotes]--><sup><span>[2]</span></sup><!--[endif]--></span></sup></a><span face="" lang="ES">.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 35.45pt; mso-hyphenate: auto; text-align: justify; text-indent: -35.45pt;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
CORONA, Fernando (1895-1979). <b>Fídias, Miguel Ângelo e Rodin</b>: tese de
concurso para <o:p></o:p></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
professor catedrático de escultura e modelagem do Instituto de de Belas
Arts da Universidade de Porto Alegre. Porto Alegre: Imprensa oficial, 1938, 83
p il. <o:p></o:p></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
-----------------<b>Ismos</b>: arte contemporânea (aula inaugural do IBA-RS em 03.03.1947 –
<o:p></o:p></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
Anexa Carta de Atenas). Porto Alegre: Instituto de Belas Artes, 1947, 29
p <o:p></o:p></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
------------------«50 anos de formas
plásticas e seus autores». in <b>Enciclopédia
Rio-Grandense</b>. Canoas : Regional, 1956,
v. 3, pp 217-70<o:p></o:p></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
------------------<b>A escultura do século XX</b>. Porto Alegre: Faculdade de Arquitetura da
URGS. Palestra dia 19.09.1958, 27 f (mimeo)<o:p></o:p></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
----------------«Cem anos de formas
plásticas e os seus autores» in <b>Enciclopédia
Rio-grandense</b>: o Rio Grande Antigo. Porto Alegre: Sulina. 1968, v. 2,
pp. 143-164.<o:p></o:p></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
----------------<b>Amêndoas e mel</b>: Crônicas de Espanha. Porto Alegre: Sulina,
1969 139 p.<o:p></o:p></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
---------------- <b>Palácios do governo do Rio Grande do Sul</b>. <span lang="IT">Porto Alegre : CORAG,
11973, 44 p. il col.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
----------------<b>Caminhada nas artes</b>: 1940-1976. Porto Alegre: UFRGS-
IEL/DAC/SEC-RS, 1977, 241 p.<o:p></o:p></div>
<div class="MsoNormal" style="text-align: justify; text-indent: 70.9pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 21.3pt; text-align: justify; text-indent: -21.3pt;">
<b><span face="">DOBERSTEIN, </span></b><span face="">Arnoldo Walter<b>. Rio Grande do Sul
(1920-1940): estatuária, catolicismo e gauchismo</b>. Porto Alegre:
PUC-Faculdade de Filosofia e Ciências Humanas, 1999. 377f<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 21.3pt; text-align: justify; text-indent: -21.3pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 21.3pt; mso-hyphenate: auto; text-align: justify; text-indent: -21.3pt;">
<b><span face="" lang="">PORTANTIERO </span></b><span face="" lang="">Juan Carlos(1934-2007)</span><a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftn3" name="_ftnref3" title=""><sup><span lang="" style="mso-ansi-language: ES-TRAD; mso-bidi-font-size: 10.0pt; mso-fareast-language: PT-BR;"><!--[if !supportFootnotes]--><sup><span face="" lang="">[3]</span></sup><!--[endif]--></span></sup></a><span face="" lang="">..<b>
Estudiantes y Política en América Latina: el proceso da la Reforma Universitaria (1918-1938). </b>México:
Siglo Veintiuno,</span><span face="">1978, 461 p.</span><span face="" lang=""><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 21.3pt; text-align: justify; text-indent: -21.3pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 21.3pt; text-align: justify; text-indent: -21.3pt;">
<b><span face="">REVISTA
do GLOBO</span></b><span face="">. <b><i>O
noivo edifício do Pão dos Pobres</i></b><i> </i>Porto
Alegre: Editora Globo <b>nº 36</b> (nº 12
do ano de 1930) dia 30 de junho de 1930
pp, 45-48<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 21.3pt; text-align: justify; text-indent: -21.3pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 21.3pt; text-align: justify; text-indent: -21.3pt;">
<b><span face="" lang="ES">SIMMEL, </span></b><span face="" lang="ES">Georg <b> Sociología y estudios sobre las formas de
socialización. </b></span><span face="" lang="">Madrid: Alianza. 1986, 817.
2v.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 21.3pt; text-align: justify; text-indent: -21.3pt;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-left: 49.65pt; mso-hyphenate: auto; text-align: justify; text-indent: -49.65pt;">
<b><span face="">TAYLOR </span></b><span face="">, Frederick Winslow (1856-1915). <b> Princípios
de administração científica. </b>7.
ed. São Paulo: Atlas, 1980, 134 p.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 21.3pt; text-align: justify; text-indent: -21.3pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 21.3pt; text-align: justify; text-indent: -21.3pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 49.65pt; mso-hyphenate: auto; text-align: justify; text-indent: -49.65pt;">
<b><span face="" lang="ES">WORRINGER, </span></b><span face="" lang="ES"> Wilhelm (1881 - 1965). <b>Abstraccion
y naturaleza</b>. (1ª.ed. em1908). México :
Fondo de Cultura Econômica,
1953. </span><span face="" lang="">137p.<o:p></o:p></span></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<b><span face="" lang=""><a href="https://de.wikipedia.org/wiki/Abstraktion_und_Einf%C3%BChlung">https://de.wikipedia.org/wiki/Abstraktion_und_Einfühlung</a><o:p></o:p></span></b></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<span face="">.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 21.3pt; text-align: justify; text-indent: -21.3pt;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 70.9pt;">
<span face="" lang="" style="line-height: 150%;"> </span><b><span face="" style="line-height: 150%;">MANUSCRITOS</span></b><span face="" style="line-height: 150%;"> de FERNANDO CORONA <o:p></o:p></span></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
CAMINHADA de FERNANDO CORONA: Tomo I. 01 de
janeiro de 1911 até dezembro de 1949 – donde se conta de como saí de casa e aqui fiquei para sempre: nasci num lugar e renasci
em outro onde encontrei amo <o:p></o:p></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
Tomo I 604 f.<o:p></o:p></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<i>Folhas
de arquivo: 210 mm X 149 mm.<o:p></o:p></i></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<i>Acervo
descendentes de Fernando Corona 1 )<o:p></o:p></i></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
CAMINHADA de FERNANDO CORONA. Tomo II
1945/49-1953. um homem como qualquer: renascer em um lugar e renascer em outro<o:p></o:p></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
Tomo II 220 f.<o:p></o:p></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<i>Folhas
de arquivo: 210 mm X 149 mm.<o:p></o:p></i></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<i>Acervo
descendentes de Fernando Corona ( 2 )<o:p></o:p></i></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
EUROPA 1952 : notas de viagem ; 1<sup>o</sup>
caderno 195 p.<o:p></o:p></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
Porto Alegre 16.01. 1952 – Veneza 09.04.1952.<o:p></o:p></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<i>Folhas
de caderno xadrez: 210 mm X 149 mm.<o:p></o:p></i></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<i> Acervo descendentes de Fernando Corona ( 5 )<o:p></o:p></i></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
EUROPA 1952: notas de viagem 2<sup>o</sup>
caderno 205
p.<o:p></o:p></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
Roma 11.04.1952 - Porto Alegre
29.07.1952<o:p></o:p></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<i>Folhas
de caderno xadrez: 210 mm X 149 mm.<o:p></o:p></i></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<i> Acervo descendentes de Fernando Corona ( 6 )<o:p></o:p></i></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
VIAGEM aos INCAS 1955
1956 88 f.<o:p></o:p></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<i>Folhas
de linha xadrez – caderno simples: 210
mm X 149 mm.<o:p></o:p></i></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<i>Acervo
descendentes de Fernando Corona ( 6 )<o:p></o:p></i></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
VIAGEM a CUBA – 1962 notas de viagem 199 f.<o:p></o:p></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<i>Folhas
de linhas simples em caderno espiral:
210 mm X 149 mm.<o:p></o:p></i></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<i> Acervo descendentes de Fernando Corona ( 9 )<o:p></o:p></i></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
COISAS MINHAS : 1962 1965 Brasília e outros
alpistes 85 f.<o:p></o:p></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
06.08. 1962 26.11.1965.<o:p></o:p></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<i>Folhas
sem linhas caderno simples: 210 mm X 149
mm.<o:p></o:p></i></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<i> Acervo descendentes de Fernando Corona ( 10 )<o:p></o:p></i></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="mso-hyphenate: auto; text-align: justify;">
<br /></div>
<div align="center" class="MsoNormal" style="mso-hyphenate: auto; text-align: center;">
<b><span face="" style="mso-bidi-font-family: "Times New Roman"; mso-fareast-language: PT-BR;">ÁLBUNS de
OBRAS</span></b><span face="" style="mso-bidi-font-family: "Times New Roman"; mso-fareast-language: PT-BR;"> de <b>ALUNOS</b></span><span face=""> de
FERNANDO CORONA </span><b><span face="" style="mso-bidi-font-family: "Times New Roman"; mso-fareast-language: PT-BR;"> </span></b><span face="" style="mso-bidi-font-family: "Times New Roman"; mso-fareast-language: PT-BR;"><o:p></o:p></span></div>
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<div>
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<!--[endif]-->
<br />
<div id="ftn1">
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<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[1]</span></span><!--[endif]--></span></span></a><span> FERNANDO CORONA (1895-1979) – PROFESSOR ESTUDOS de
ARTE nº 203 –<o:p></o:p></span></div>
<div class="MsoFootnoteText" style="text-align: justify;">
<span><a href="http://profciriosimon.blogspot.com.br/2017/04/203-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/04/203-estudos-de-arte.html</a><o:p></o:p></span></div>
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<br /></div>
</div>
<div id="ftn2">
<div class="MsoNormal" style="text-align: justify;">
<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span style="mso-bidi-font-size: 8.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[2]</span></span><!--[endif]--></span></span></a><span style="mso-bidi-font-size: 8.0pt;"> <span style="color: #c00000;">ATCON,
Rudolf </span><span style="color: #333333;"> Rumo à reformulação estrutural da universidade
brasileira: <b>estudo realizado entre junho e setembro de 1965 para a Diretoria
do Ensino Superior do Ministério da Educação e Cultura</b></span><span style="color: #c00000;"><o:p></o:p></span></span></div>
<div class="MsoFootnoteText">
<span style="color: #c00000; mso-bidi-font-size: 8.0pt;"><a href="https://books.google.com.br/books/about/Rumo_%C3%A0_reformula%C3%A7%C3%A3o_estrutural_da_uni.html?id=-qBMHQAACAAJ&redir_esc=y">https://books.google.com.br/books/about/Rumo_%C3%A0_reformula%C3%A7%C3%A3o_estrutural_da_uni.html?id=-qBMHQAACAAJ&redir_esc=y</a></span><o:p></o:p></div>
</div>
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<div class="MsoFootnoteText">
<a href="file:///D:/282%20-%20%20CORONA%20LUTZENBERGER/0-282%20-%20COROAN%20LUTZEN%20BERGER.doc#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span style="mso-bidi-font-size: 10.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span face="">[3]</span></span><!--[endif]--></span></span></a><span style="mso-bidi-font-size: 10.0pt;"> <a href="http://bibliotecavirtual.clacso.org.ar/ar/libros/icpuy/portantiero/lanzaro_dados.pdf">http://bibliotecavirtual.clacso.org.ar/ar/libros/icpuy/portantiero/lanzaro_dados.pdf</a><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoydnHDD8SDXNxxlSvnC3tp3QeaVR3eYcnQUB7WDiS-D9gKQ4oNgsY5KkoTFA4RxQiI41IUsjf-YNFOg-eIq8ZgZylaHuYokrdKEN-saIIg8s0cYOUoe54JlMUUNvL-7wiKX-PlNNwOuc_/s1600/23+-+ESCULTURA+dos+ALUNOS+IBA+1938-1956+-Capa+-+Albuns+fotos+de+Corona.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="568" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoydnHDD8SDXNxxlSvnC3tp3QeaVR3eYcnQUB7WDiS-D9gKQ4oNgsY5KkoTFA4RxQiI41IUsjf-YNFOg-eIq8ZgZylaHuYokrdKEN-saIIg8s0cYOUoe54JlMUUNvL-7wiKX-PlNNwOuc_/s320/23+-+ESCULTURA+dos+ALUNOS+IBA+1938-1956+-Capa+-+Albuns+fotos+de+Corona.JPG" width="227" /></a></div>
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<span face="">ESCULTURAS dos ALUNOS do INSTITUTO de BELAS ARTES Álbum
n<sup>o</sup> 1 contém fotos e escritos de 1938 até 1956 <b>99</b> <i>folhas de arquivo: 297 mm
X 210 mm
com 332 fotos coladas</i> Arquivo <i>do Instituto de Artes da UFRGS</i><o:p></o:p></span></div>
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<span face="" style="color: #c00000;">Fig. 23 <b>Capa
do álbum de Fernando Corona no qual
registrava cuidadosa e individualmente
as obras e a evolução individual e coletiva dos ESTUDANTES de ESCULTURA
do Instituto de BELAS ARTES do Rio Grande o Sul</b> No caso da aulas de MODELAGEM não havia
registro além dos cadernos de chamada. Nestas aulas de MODELAGEM havia um
programa progressivo ao longo de dois anos com uma aula teórica orientadora o
início de cada mês. O trabalho em placas de argila de 30 x 30 cm sobre tabuleta de madeira. No final do mês
havia uma avaliação de cada obra numa exposição das obras de todos exposta
publicamente. Depois a argila voltava ao tanque onde era amassado Gumercindo da
SILVA PACHECO (1924-2008) o GUMA- que se tornou artista com carreira propria </span><b><span face=""><o:p></o:p></span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr0ORU8mrVD8m67C7g2EGdzWEKlF5YN7VBRztCfnsSfTt_cEcKN6twgcZSOpLVTGfM4YVBAzV97Eg-_aJXbO04Iy_ln4n0tXK4jT44ZtBECiL8HwyZQib3CM2Ggb4B_zFOgdo8iTfhk4Ah/s1600/24+-+capa+ECULTUA+de+ESTUDANTES+2.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1273" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr0ORU8mrVD8m67C7g2EGdzWEKlF5YN7VBRztCfnsSfTt_cEcKN6twgcZSOpLVTGfM4YVBAzV97Eg-_aJXbO04Iy_ln4n0tXK4jT44ZtBECiL8HwyZQib3CM2Ggb4B_zFOgdo8iTfhk4Ah/s320/24+-+capa+ECULTUA+de+ESTUDANTES+2.jpg" width="254" /></a></div>
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<span face="">ESCULTURA dos ALUNOS do INSTITUTO de BELAS ARTES Álbum n<sup>o</sup> 2
contém fotos e escritos de 1957
até 1965 <b>71</b> <i>folhas de arquivo: 297 mm X 210
mm com 167 fotos coladas </i> Arquivo <i>do
do Instituto de Artes da. UFRGS </i><o:p></o:p></span></div>
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<span face="" style="color: #c00000;">Fig. 24 <b>O
segundo álbum de obras de estudantes de ESCULTURA de Fernando Corona é
revelador tanto da evolução do mestre com das novas tendências observadas na
ARTE da TRIDIMENSALIDADE observável Instituto de BELAS ARTES do Rio Grande o Sul, </b>Evidente
que não se trata de OBRAS de ARTE na medid emque o estudante ainda está na
heteronimi do mestre. No entanto é de se registrar que a maioria tomou est
impulso inicial para fazer um carreira solo e na qual tiveram não só projeção
individual, mas projetaram o seu saber adquirido no Rio Grande do Sul e Brasil
afora</span><i><o:p></o:p></i></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia9oZD8G4T6vPbFgxTDPLNNb7XJrm1kn5hUbwOc_UeFd5IwlHLJdm6nxEyG9M6_FcNKzv849rhgSV3Ds1DfSmNSQI-gsVaGWGfGTTDy8jAnJbNGPiU0VaOmsLS43BqUWk8ev_Xa3QnS0qO/s1600/25+-+IA.3.5.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="585" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia9oZD8G4T6vPbFgxTDPLNNb7XJrm1kn5hUbwOc_UeFd5IwlHLJdm6nxEyG9M6_FcNKzv849rhgSV3Ds1DfSmNSQI-gsVaGWGfGTTDy8jAnJbNGPiU0VaOmsLS43BqUWk8ev_Xa3QnS0qO/s320/25+-+IA.3.5.JPG" width="234" /></a></div>
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<span face="">CURSO de ARQUITETURA : Cadeira de MODELAGEM. 21.09.1955 + Viagem a Europa 1952 Documentário fotográfico de 1946 – 47 –
48 – 49 – 50 – 51 <i>Folhas de arquivo: 297
mm X 210 mm como fotos coladas.Acervo do Arquivo do
Instituto de Artes da UFRGS </i><o:p></o:p></span></div>
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<span face="" style="color: #c00000;">Fig. 25 <b>Fernando
Corona lecionou no CURSO COMPLETA e SUPERIOR de ARQUITETURA do Instituto de BELAS ARTES do Rio Grande o
Sul. Ali usava as técnicas da MODELAGEM
em ARGILA para as MAQUETES de ARQUITURA e URBANISMO </b>Este CURSO foi o
primeiro específico e completo de
ARQUITETURA no Rio Grande do Sul, Aquele da ESCOLA de ENGENARIA era uma
ESPECIALIZAIÇÂO para ENGENHEIROS após a sua diplomação Fernando CORONA não teve
aprovetamente quando se friuo a FACULDADE de ARQUITETURA e URBANISMO da UFRGS </span><b><span face=""><o:p></o:p></span></b></div>
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<span face="" style="line-height: 150%;">FONTES NUMÉRICAS
DIGITAIS<o:p></o:p></span></div>
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<span face="">CARTA de LE
BRETON ao CONDE da BARCA<o:p></o:p></span></div>
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<span face=""><a href="http://profciriosimon.blogspot.com.br/2016/02/151-logistica-em-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2016/02/151-logistica-em-estudos-de-arte.html</a><o:p></o:p></span></div>
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<span face="">Decreto nº 19851 de 11.04.1931
roa a Universidade Brasileira<o:p></o:p></span></div>
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<span face=""> <a href="http://www.planalto.gov.br/ccivil_03/decreto/1930-1949/D19851.htm"><span lang="DE">http://www.planalto.gov.br/ccivil_03/decreto/1930-1949/D19851.htm</span></a><o:p></o:p></span></div>
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<br /></div>
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<b><span face="">A UNIVERSIDADE BRASILEIRA e a ARTE </span></b><span face="">no PENSAMENTO de
TASSO BOLIVAR DIAS CORRÊA - </span><b><span face="">Isto é ARTE nº 165 -<o:p></o:p></span></b></div>
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<b><span face=""><a href="http://profciriosimon.blogspot.com.br/2016/04/165-o-pensamento-de-tasso-correa.html">http://profciriosimon.blogspot.com.br/2016/04/165-o-pensamento-de-tasso-correa.html</a><o:p></o:p></span></b></div>
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<span face="" lang="DE">Joseph
Franz Seraph LUTZENBERGER (1882-1951)<o:p></o:p></span></div>
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<span face=""><a href="http://www.lutzenberger.com.br/"><span lang="DE">http://www.lutzenberger.com.br</span></a></span><span face="" lang="DE"><o:p></o:p></span></div>
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<span face="">Imagens da Europa<o:p></o:p></span></div>
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<span face=""><a href="http://www.lutzenberger.com.br/paisagens_europa.htm">http://www.lutzenberger.com.br/paisagens_europa.htm</a><o:p></o:p></span></div>
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<br /></div>
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<span face="" style="mso-bidi-font-family: Arial; mso-fareast-language: PT-BR;">Biografia<o:p></o:p></span></div>
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<span face="" style="mso-bidi-font-family: Arial; mso-fareast-language: PT-BR;"><a href="https://pt.wikipedia.org/wiki/Joseph_Franz_Seraph_Lutzenberger">https://pt.wikipedia.org/wiki/Joseph_Franz_Seraph_Lutzenberger</a><o:p></o:p></span></div>
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<span face="" lang="DE" style="mso-ansi-language: DE; mso-bidi-font-family: Arial; mso-fareast-language: PT-BR;">Obras de Joseph Franz Seraph
LUTZENBERGER <o:p></o:p></span></div>
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<span face="" style="mso-bidi-font-family: Arial; mso-fareast-language: PT-BR;"><a href="http://www.ufrgs.br/acervoartes/artistas/l/lutzenberger-jose">http://www.ufrgs.br/acervoartes/artistas/l/lutzenberger-jose</a><o:p></o:p></span></div>
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<span face="" style="mso-bidi-font-family: Arial; mso-fareast-language: PT-BR;">_ estudantes<o:p></o:p></span></div>
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<span face="" style="mso-bidi-font-family: Arial; mso-fareast-language: PT-BR;"><a href="http://www.ufrgs.br/acervoartes/obras/desenho/desenho/ladislau-nahlovsky-ernesto-scheffel-e-luiz-borges-sob-orientacao-de-jose-lutzenberger/view">http://www.ufrgs.br/acervoartes/obras/desenho/desenho/ladislau-nahlovsky-ernesto-scheffel-e-luiz-borges-sob-orientacao-de-jose-lutzenberger/view</a><o:p></o:p></span></div>
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<br /></div>
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<span face="" style="mso-bidi-font-family: Arial; mso-fareast-language: PT-BR;">Edifício BASTIAN PINTO Obra de Joseph Franz Seraph LUTZENBERGER <o:p></o:p></span></div>
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<span face="" style="mso-bidi-font-family: Arial; mso-fareast-language: PT-BR;"><a href="https://urbsnova.wordpress.com/2013/03/28/ed_bastianpinto/">https://urbsnova.wordpress.com/2013/03/28/ed_bastianpinto/</a><o:p></o:p></span></div>
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<br /></div>
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<span face="" style="mso-bidi-font-family: Arial; mso-fareast-language: PT-BR;">AQUARELAS de Joseph Franz Seraph LUTZENBERGER <o:p></o:p></span></div>
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<span face="" style="mso-bidi-font-family: Arial; mso-fareast-language: PT-BR;"><a href="http://pinacotecasaldolocatellierubenberta.blogspot.com/2016/12/abertura-da-exposicao-voz-das-cores.html">http://pinacotecasaldolocatellierubenberta.blogspot.com/2016/12/abertura-da-exposicao-voz-das-cores.html</a><o:p></o:p></span></div>
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<br /></div>
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<span face="" style="mso-bidi-font-family: Arial; mso-fareast-language: PT-BR;">A CASA e FAMILIA de Joseph Franz Seraph LUTZENBERGER <o:p></o:p></span></div>
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<span face="" style="mso-bidi-font-family: Arial; mso-fareast-language: PT-BR;"><a href="http://helenaschanzer.com.br/2016/06/01/ilustracoes-de-lutzenberger-retratam-a-infancia-do-ambientalista-capitulo-2/">http://helenaschanzer.com.br/2016/06/01/ilustracoes-de-lutzenberger-retratam-a-infancia-do-ambientalista-capitulo-2/</a><o:p></o:p></span></div>
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<span face="" style="mso-bidi-font-family: Arial; mso-fareast-language: PT-BR;">Vila FLORES e Joseph Franz Seraph LUTZENBERGER <o:p></o:p></span></div>
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<span face="" style="mso-bidi-font-family: Arial; mso-fareast-language: PT-BR;"><a href="https://urbsnova.wordpress.com/vilaflores/">https://urbsnova.wordpress.com/vilaflores/</a></span><span face=""><o:p></o:p></span></div>
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Ecologista José
LUTZENBERGER<o:p></o:p></div>
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<a href="https://pt.wikipedia.org/wiki/Jos%C3%A9_Lutzenberger">https://pt.wikipedia.org/wiki/José_Lutzenberger</a><o:p></o:p></div>
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<span face="">ESCOLAS de ARTES
e OFÍCIOS em PORTO ALEGRE</span><span face=""><o:p></o:p></span></div>
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<b><span face=""><a href="http://profciriosimon.blogspot.com.br/2018/02/227-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2018/02/227-estudos-de-arte.html</a><o:p></o:p></span></b></div>
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<span face=""> PREDUO do ORFANATO PÃO dos POBRES - Porto
Alegre RS<o:p></o:p></span></div>
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<span face=""><a href="https://www.sul21.com.br/noticias/2011/11/pao-dos-pobres-instituicao-beneficente-de-inspiracao-francesa/">https://www.sul21.com.br/noticias/2011/11/pao-dos-pobres-instituicao-beneficente-de-inspiracao-francesa/</a><o:p></o:p></span></div>
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<span face="">*<o:p></o:p></span></div>
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<span face=""><a href="https://gauchazh.clicrbs.com.br/porto-alegre/noticia/2014/06/Pao-dos-Pobres-celebra-Santo-Antonio-nesta-sexta-feira-em-Porto-Alegre-4523069.html">https://gauchazh.clicrbs.com.br/porto-alegre/noticia/2014/06/Pao-dos-Pobres-celebra-Santo-Antonio-nesta-sexta-feira-em-Porto-Alegre-4523069.html</a><o:p></o:p></span></div>
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<span face="">+<o:p></o:p></span></div>
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<span face=""><a href="https://pt.wikipedia.org/wiki/Instituto_P%C3%A3o_dos_Pobres">https://pt.wikipedia.org/wiki/Instituto_Pão_dos_Pobres</a><o:p></o:p></span></div>
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Palácio do Comercio –
projeto - <a href="http://www.ufrgs.br/acervoartes/obras/desenho/desenho/lutzenberger-jose-2/view">http://www.ufrgs.br/acervoartes/obras/desenho/desenho/lutzenberger-jose-2/view</a><o:p></o:p></div>
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<span face="">FERNANDO
CORONA (1895-1979) –<o:p></o:p></span></div>
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<span face="">Cronologia
das obras de Fernando Corona o RS<o:p></o:p></span></div>
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<span face=""><a href="http://profciriosimon.blogspot.com/2017/04/205-estudos-de-arte.html">http://profciriosimon.blogspot.com/2017/04/205-estudos-de-arte.html</a><o:p></o:p></span></div>
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<span face="">FERNANDO CORONA
(1895-1979) – PROFESSOR</span><span face=""> ESTUDOS de ARTE nº 203 –</span><span face=""><o:p></o:p></span></div>
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<span face="" style="line-height: 150%;"><a href="http://profciriosimon.blogspot.com.br/2017/04/203-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/04/203-estudos-de-arte.html</a><o:p></o:p></span></div>
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<span face="">Uma TOURADA
FRUSTRADA pelo TOURO</span><span face="">0 e como FERNANDO CORONA CONVERTEU-SE para a
CULTURA SUL RIO GRANDENSE-nº 279. ISTO é ARTE<o:p></o:p></span></div>
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<span face=""><a href="https://profciriosimon.blogspot.com/2020/02/279-isto-e-arte.html"><span color="" style="text-decoration-line: none;">https://profciriosimon.blogspot.com/2020/02/279-isto-e-arte.html</span></a><o:p></o:p></span></div>
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<span face="" style="line-height: 150%;">4/203-estudos-de-arte.html<o:p></o:p></span></div>
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<span face="">FERNANDO CORONA
(1895-1979) – ARQUITETO </span><span face="">ESTUDOS de ARTE nº 202 –</span><span face=""><o:p></o:p></span></div>
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<span face=""><a href="http://profciriosimon.blogspot.com.br/2017/04/202-estudos-de-arte.html">http://profciriosimon.blogspot.com.br/2017/04/202-estudos-de-arte.html</a><o:p></o:p></span></div>
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<span lang="IT">Edificio GUASPARI<o:p></o:p></span></div>
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<span lang="IT"> <a href="https://www.caurs.gov.br/edificio-guaspari-historia-preservada/">https://www.caurs.gov.br/edificio-guaspari-historia-preservada/</a><o:p></o:p></span></div>
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Residência Guilhermino
CEZAR <a href="https://www.lume.ufrgs.br/bitstream/handle/10183/6694/000445369.pdf?sequence=1">https://www.lume.ufrgs.br/bitstream/handle/10183/6694/000445369.pdf?sequence=1</a><span face=""><o:p></o:p></span></div>
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<span face="">A presença de
Oscar Niemeyer em Porto Alegre deve-se a mediação de Eduardo Corona </span><b><span face="">1 – As ARTES e a
ARQUITETURA no IBA-RS<o:p></o:p></span></b></div>
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<span face=""><a href="http://profciriosimon.blogspot.com/2010/05/01-oscar-niemeyer-em-porto-alegre.html">http://profciriosimon.blogspot.com/2010/05/01-oscar-niemeyer-em-porto-alegre.html</a><o:p></o:p></span></div>
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<b><span face="">2- O II CONGRESSO de ARQUITETURA em PORTO
ALEGRE<span style="color: #999999;"><o:p></o:p></span></span></b></div>
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<span face=""><a href="http://profciriosimon.blogspot.com/2010/05/niemeyer-em-porto-alegre-02.html">http://profciriosimon.blogspot.com/2010/05/niemeyer-em-porto-alegre-02.html</a><o:p></o:p></span></div>
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<span face="">3 – <b>Oscar NIEMEYER e
formatura em 13.04.1949 do 1º Curso Superior de Urbanismo do Brasil<span style="color: #999999;"><o:p></o:p></span></b></span></div>
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<span face=""><a href="http://profciriosimon.blogspot.com/2010/05/niemeyer-em-porto-alegre-03_06.html">http://profciriosimon.blogspot.com/2010/05/niemeyer-em-porto-alegre-03_06.html</a><o:p></o:p></span></div>
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<span face="">4 – <b>Lições de Oscar NIEMEYER aos
jovens arquitetos<o:p></o:p></b></span></div>
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Eduardo CORONA <o:p></o:p></div>
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<a href="https://pt.wikipedia.org/wiki/Eduardo_Corona">https://pt.wikipedia.org/wiki/Eduardo_Corona</a><o:p></o:p></div>
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<br /></div>
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Luís Fernando
CORONA <o:p></o:p></div>
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<a href="https://lume.ufrgs.br/handle/10183/18362">https://lume.ufrgs.br/handle/10183/18362</a><o:p></o:p></div>
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<br /></div>
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Vídeo de Porto
Alegre dos anos 1930 e 1940 com obras de Lutzenberger e Corona.<o:p></o:p></div>
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<a href="https://www.youtube.com/watch?v=rQb6cCNXy6s&feature=share&fbclid=IwAR3Epu49a3Sn83JrLCSupL5i89rmDTzP8LMgAMOTxbGBesJm6cSiOcpyHmU">https://www.youtube.com/watch?v=rQb6cCNXy6s&feature=share&fbclid=IwAR3Epu49a3Sn83JrLCSupL5i89rmDTzP8LMgAMOTxbGBesJm6cSiOcpyHmU</a><o:p></o:p></div>
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<b><span face="">TEIXEIRA</span></b><span face="">, Paulo Cesar <b><i>A Porto Alegre do arqiuiteto José Lutzenberger</i></b>
Porto Alegre; Jornal do Comércio em 15.06.2020<o:p></o:p></span></div>
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<span face="" style="color: #c00000; mso-bidi-font-size: 12.0pt;"><a href="https://www.jornaldocomercio.com/_conteudo/especiais/reportagem_cultural/2020/05/741320-a-porto-alegre-de-jose-lutzenberger.html">https://www.jornaldocomercio.com/_conteudo/especiais/reportagem_cultural/2020/05/741320-a-porto-alegre-de-jose-lutzenberger.html</a><o:p></o:p></span></div>
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<span face="">Projeto de
Joseph LUTZENBERGER - Caduceu do Palácio
do Comercio –- <a href="https://pt.wikipedia.org/wiki/Pal%C3%A1cio_do_Com%C3%A9rcio">https://pt.wikipedia.org/wiki/Palácio_do_Comércio</a><o:p></o:p></span></div>
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<span face="">projeto<o:p></o:p></span></div>
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<span face=""><a href="http://www.ufrgs.br/acervoartes/obras/desenho/desenho/lutzenberger-jose-2/view">http://www.ufrgs.br/acervoartes/obras/desenho/desenho/lutzenberger-jose-2/view</a><o:p></o:p></span></div>
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<span face=""> </span><span face="" style="color: #c00000;">Fig. 26 <b> O
caduceu do Palacio do Comércio ostenta, além de sua simologia, índices da passagem
do tempo e a sua pátina emprestam uma dignidade e uma confiança de que estamos
diante e um patrimônio de outro tempo, mas bem vindo e uma régua daquelo que é
cert e errado, do que pura veleidade daquilo que é solido</b> </span><b><span face=""><o:p></o:p></span></b></div>
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restrito ao apoio do processo continuado de ensino-aprendizagem</span><o:p></o:p></div>
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<span face="" style="color: #c00000;">Não há pretensão de lucro ou
de apoio financeiro nem ao autor e nem aos seus eventuais usuários</span><o:p></o:p></div>
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<span face="" style="color: #c00000;">Este material é editado e
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idioma.</span><o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><span face="" style="mso-bidi-font-family: "Arial Narrow";">ASSISTÊNCIA TÉCNICA e DIGITAL de<span style="mso-spacerun: yes;"> </span>CÌRIO JOSÉ SIMON</span></b><o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><span face="" style="mso-bidi-font-family: "Arial Narrow";">Referências para Círio SIMON</span></b><o:p></o:p></div>
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<span face="">.</span><o:p></o:p></div>
<br />Prof. Círio Simonhttp://www.blogger.com/profile/06566693954184732946noreply@blogger.com0