Maria de Fatima Lambert
PHD - Aesthetics (Philosophy)
Master of Philosophy - Aesthetics
Graduation - Philosophy
Head of Department "Cultural and Social Studies" - Superior School of Education |Polytechnic Institute of Porto | Portugal
Director of inED (Center for Research and Innovation in Education) Polytechnic of Porto
Director "Sensos" (biannual publication of inED)
Director of Master Philosophy - "Heritage, Artes and Cultural Tourism"
Research Project "Writing and Seing" | FCT | Portugal
Research Member of "Institut of Art History" - Museum Studies | FCHS | Universidade Nova Lisboa
Curator and Art Critic - Member of AICA
Scientific Comitee - Midas - Journal of Museology (Portugal)
Comissões Científicas: Revista MIDAS, Portugal; Revista Visuais – UNICAMP – Campinas, Brasil; Revista Asparkía – Universitat Jaume I (UJI) de Castellón, Espanha; Rev. EARI – Universitat de València (ES); Rev. Pós-Limiar, Pontifícia Universidade Católica de Campinas (BR); Rev. Diferents - Museo de Arte Contemporáneo Vicente Aguilera Cerni de Vilafamés, Valencia (ES); Revista de História da Sociedade e da Cultura, Faculdade de Letras, Universidade de Coimbra; da Fundação Bienal de Cerveira – V. Nova Cerveira (representante Politécnico do Porto); Comitee Advisor - Dardo Magazine (Santiago | Spain)
Professora Decana da Escola Superior de Educação do Politécnico do Porto
Coordenadora: UTC /Estudos Culturais e Sociais; 1º Ciclo GP; NEAP/InED; CAA da licenciatura de GP; CAA Mestrado Património, Artes e Turismo Cultural.
Comissão Científica da Pós-Graduação em Dança Contemporânea – ESMAE / Teatro Municipal do Porto
Bolseira FCT no projeto “Writing and Seeing” - 2000 e 2004.
Membro Comissão de Aquisições - Coleção da Câmara Municipal Porto (2020)
Crítica de Arte e Curadora Independente desde 1994 e Membro da AICA (Assotiation Internationale de Critiques d’Art) – Lisboa.
Phone: +351225073460
Address: rua dr. Roberto Frias, 602
4200-465 PORTO
Portugal
Master of Philosophy - Aesthetics
Graduation - Philosophy
Head of Department "Cultural and Social Studies" - Superior School of Education |Polytechnic Institute of Porto | Portugal
Director of inED (Center for Research and Innovation in Education) Polytechnic of Porto
Director "Sensos" (biannual publication of inED)
Director of Master Philosophy - "Heritage, Artes and Cultural Tourism"
Research Project "Writing and Seing" | FCT | Portugal
Research Member of "Institut of Art History" - Museum Studies | FCHS | Universidade Nova Lisboa
Curator and Art Critic - Member of AICA
Scientific Comitee - Midas - Journal of Museology (Portugal)
Comissões Científicas: Revista MIDAS, Portugal; Revista Visuais – UNICAMP – Campinas, Brasil; Revista Asparkía – Universitat Jaume I (UJI) de Castellón, Espanha; Rev. EARI – Universitat de València (ES); Rev. Pós-Limiar, Pontifícia Universidade Católica de Campinas (BR); Rev. Diferents - Museo de Arte Contemporáneo Vicente Aguilera Cerni de Vilafamés, Valencia (ES); Revista de História da Sociedade e da Cultura, Faculdade de Letras, Universidade de Coimbra; da Fundação Bienal de Cerveira – V. Nova Cerveira (representante Politécnico do Porto); Comitee Advisor - Dardo Magazine (Santiago | Spain)
Professora Decana da Escola Superior de Educação do Politécnico do Porto
Coordenadora: UTC /Estudos Culturais e Sociais; 1º Ciclo GP; NEAP/InED; CAA da licenciatura de GP; CAA Mestrado Património, Artes e Turismo Cultural.
Comissão Científica da Pós-Graduação em Dança Contemporânea – ESMAE / Teatro Municipal do Porto
Bolseira FCT no projeto “Writing and Seeing” - 2000 e 2004.
Membro Comissão de Aquisições - Coleção da Câmara Municipal Porto (2020)
Crítica de Arte e Curadora Independente desde 1994 e Membro da AICA (Assotiation Internationale de Critiques d’Art) – Lisboa.
Phone: +351225073460
Address: rua dr. Roberto Frias, 602
4200-465 PORTO
Portugal
less
InterestsView All (28)
Uploads
Books by Maria de Fatima Lambert
Two emblematic self-portraits, one painted by the Portuguese female artist Aurélia de Souza (b. 1866- d. 1826), the other by the Brazilian artist Tarsila do Amaral (b.1886- d.1973). A common denominator stands out in the two self-portraits chosen for this essay: red color. Aurelia de Souza painted her most well-known portrait in 1900 after returning from a long journey abroad, mainly studying at Paris. Tarsila do Amaral, on the contrary, portrayed herself during one of her stays at Paris, apparently with a costume she wore at a dinner party in 1923. How can a color be a clue, or a vestige, or an essence ... as it configures the iconographic identity of a painter, at different stages of historical consciousness as to the role of female self-portrait in aesthetics and artistic thought?
Those two women belong to different generations, but both of them have chosen to present themselves in different self-portraits along their careers. Through their self-images they might be known and approached as a sort of manifest although in two different art history periods, following the aesthetic preferences according to their time: they undertook different artistic references and moved their thoughts in each other lasting sociocultural Umwelt. They identify divergent dialogues, although converging by the predominance of red color in both compositions. Why is it so often seen in painted portraits, namely in self-portraits, women wearing red in their clothes, even in such different times and belonging to opposing styles and aesthetics? Is it due to the polysemic meaning of the color or might it be only a matter of personal taste by means of a color that improves beauty and allows recognizing power of the figure portrayed? Does it work out mainly as a symbolic strategy in terms of visual perception towards the spectator, caused by its chromatic intensity in our visual lasting memory? Also because of the recurrence in portraits that proliferate in occidental iconography, understood as a kind of traditional dress code that suits aesthetically well?
Ambos autores tomaram para metáfora da existência breve o mesmo objeto de uso, abordando-o em consentaneidade à sua determinação pessoal. A chávena de chá/café em cima de um pires constitui um objeto de uso, banalizado nos rituais do dia ou da noite, quer nas sociedades ocidental, quer na oriental. Transpõem espaços e tempos, celebrando memórias retomadas sob auspício intuitivo, lembrando Marcel Proust. A chávena de chá tratada no conto de Almada, que adiante se aborda, seria a explicitação poética, a partir da peça representada na pintura de Columbano, de 1889. Contrariamente à pintura de Columbano, a chávena de Almada é decifrável na íntegra e extrapola deliberações éticas e estéticas, societárias e psicoafectivas. Expõe a ironia existencial, subsumida a códigos comportamentais de época que persistiam. Existe uma narrativa verbicovisual que é o outro lado da criação artística de Almada, então em início de carreira.
No caso de Fernando Pessoa, através de Bernardo Soares, a dominância ecfrástica é determinadora e conduz o leitor num constructo que radicaliza o sentimento derisório do autor enquanto empregado de escritório lisboeta. As suas conclusões acerca dos conteúdos semânticos ausenciados na chávena são irrefutáveis e transpiram coerência e rigor de observação imparcializada e fria quase.
Estamos, pois, na era pequena das viagens que tendo sido feitas, irrompem no nosso pensamento, assim como aqueles que nunca se tenham realizado. Há uma certa indistinção, tão longe tudo se posiciona. As viagens da memória ou da expetativa, que se previam para um futuro inominado, ultrapassam os condicionalismos, vencem as limitações quando se escrevem ou buscam em imagens entrepostas. A viagem que se fez (e se perdeu) ou a viagem nunca concretizada confundem-se. Quer-se que a viagem nunca feita seja plácida, circunde as paisagens internalizadas por cada pessoa, repita (e repense) trajetos partilhados em escritas por autores ao longo de séculos, assim afiançando identidades - sucessivas ou distópicas, consagrando excelências além-tempo no espaço exterior.
Therefore, in order to make record of these presentations, a call for chapters has been promoted. In this way, issuEs 21 – Issues in Education, an e-Book, has been born.
similitudes e dissemelhanças, em confronto aos relatos de autores franceses do mesmo período. De balizar, portanto as menções a locais, sítios, monumentos, paisagens revisitando a iconografia fotográfica
produzida por profissionais da época. No prefácio, José Maria d’Eça de Queiroz1 conjetura sobre o título “visões do Oriente” do volume
póstumo (Livraria Lello, Porto) resultante da compilação das notas sobre o périplo de seu Pai pelo Egipto e Terra Santa: “Toda a viagem tem a rapidez efémera d’uma visão. São pouco mais de seis semanas, em
que as paisagens, as architecturas, as impressões se sucedem vertiginosamente. Os quadros acumulam-se, as observações amontoam-se”.2 O termo visões convoca a perceção do real e as imagens mentais, elaboradas pelo imaginário. Atendeu-se a parâmetros significativos da visão memorial, entendendo como os relatos e impressões de viagem restauram a transitoriedade; averiguando a efetivação citada nas narrativas. Assim, a análise radica numa indexação subjetiva, mediante a seleção de excertos, subsumidos
a temas/aspetos, e fundamentada em leituras [ecfrásticas] concatenadas. "
survey of all the important names that stand out in the historiography of Portuguese art, which is why there is a pressing need for future events to complement this first showing. The history of Portuguese art in the 20th century may also be constructed by focusing upon the inter-relationship between the image and writing, a persistent and relevant trend that has
involved authors of unquestionable talent, and has accompanied the general development of poetry and literature and the performing arts.
At the beginning of that century, the most representative and high-profile case in Portugal (though achieving recognition only belatedly) was Amadeo de Souza-Cardoso, who made use of fragments of writing in his compositions, giving them a privileged place in keeping with the
languages of synthetic cubism, futurism and Dadaism, which were at that time emerging (definitively). As was the case with other unquenchable artists, the very act of integrating external elements into his painting led to an expansion into new combinations, revealing an overlapping relatedness peopled by words from his private hoard, chosen for their creative and provocative seductiveness.
O que existirá de comum entre a escultura de Jörg Immendorff Fortuna: Läuferin auf der Weltkugel
(1989), a sua pintura Ohne Titel (Fortuna) de 2000 e/ou as distintas figurações estereotipadas da deidade Fortuna
ao longo da Cultura e Arte na Europa? Procede-se ao meapeamento das iconografias que representam
Fortuna e/ou Tyché, considerando a postura, pose e esboço de movimento, assim como os atributos, objetos
e enquadramentos que sejam representados. Tomou-se como substância uma compilação de certas imagens
escolhidas que cumprem um arco cronológico, iniciado na Antiguidade Grega, atravessando os séculos e apontando
casos na Arte Moderna e Contemporânea. Qual a recorrência, repetição de estereotipos e atitudes convencionais
na personificação da deidade, quais os contextos que assim a determinam, associada ao Erro… eis
como se o mundo, em cronologias tão díspares, afinal fosse um doppelgänger, uma dimensão pequena perante
o gigantismo cosmogónico.
Palavras-chave: Fortuna-Tyché; Erro; Alegoria; Figura; Iconografia.
The self-portrait (self-identity condition) exposes, proclaims either illusions or reifies intimacy [factual or fictional], based on artistic stipulations, sociocultural conjunctures and aesthetic concatenations, in order to attend to self-portraits in their visual and verbal- visual. Consider how almost every authorial work can be regarded as self-portrait. It is therefore appropriate to inquire, while we are "other", what the artist / author herself places herself, what inhabits her self-portrait: image-icon-word, portrait that transcends the person, internalizing it in the residual authority of each person, as make sure a "house" of word and image is dealt with.
Two emblematic self-portraits, one painted by the Portuguese female artist Aurélia de Souza (b. 1866- d. 1826), the other by the Brazilian artist Tarsila do Amaral (b.1886- d.1973). A common denominator stands out in the two self-portraits chosen for this essay: red color. Aurelia de Souza painted her most well-known portrait in 1900 after returning from a long journey abroad, mainly studying at Paris. Tarsila do Amaral, on the contrary, portrayed herself during one of her stays at Paris, apparently with a costume she wore at a dinner party in 1923. How can a color be a clue, or a vestige, or an essence ... as it configures the iconographic identity of a painter, at different stages of historical consciousness as to the role of female self-portrait in aesthetics and artistic thought?
Those two women belong to different generations, but both of them have chosen to present themselves in different self-portraits along their careers. Through their self-images they might be known and approached as a sort of manifest although in two different art history periods, following the aesthetic preferences according to their time: they undertook different artistic references and moved their thoughts in each other lasting sociocultural Umwelt. They identify divergent dialogues, although converging by the predominance of red color in both compositions. Why is it so often seen in painted portraits, namely in self-portraits, women wearing red in their clothes, even in such different times and belonging to opposing styles and aesthetics? Is it due to the polysemic meaning of the color or might it be only a matter of personal taste by means of a color that improves beauty and allows recognizing power of the figure portrayed? Does it work out mainly as a symbolic strategy in terms of visual perception towards the spectator, caused by its chromatic intensity in our visual lasting memory? Also because of the recurrence in portraits that proliferate in occidental iconography, understood as a kind of traditional dress code that suits aesthetically well?
Keywords:
Aurelia de Souza; Tarsila do Amaral; Female artist /author; Self-portrait; Red Color.
(Venayre 2012, 10). O ímpeto de viajar propagou-se na Europa, almejando destinos longínquos, territórios sob tutela de países colonialistas, de onde os viajantes eram originários ou manifestavam afinidade. A Inglaterra e a França lideravam no respeitante ao sector feminino que viajava, não excluindo europeias de outras nacionalidades – poucas, certamente, portuguesas. ..
Two emblematic self-portraits, one painted by the Portuguese female artist Aurélia de Souza (b. 1866- d. 1826), the other by the Brazilian artist Tarsila do Amaral (b.1886- d.1973). A common denominator stands out in the two self-portraits chosen for this essay: red color. Aurelia de Souza painted her most well-known portrait in 1900 after returning from a long journey abroad, mainly studying at Paris. Tarsila do Amaral, on the contrary, portrayed herself during one of her stays at Paris, apparently with a costume she wore at a dinner party in 1923. How can a color be a clue, or a vestige, or an essence ... as it configures the iconographic identity of a painter, at different stages of historical consciousness as to the role of female self-portrait in aesthetics and artistic thought?
Those two women belong to different generations, but both of them have chosen to present themselves in different self-portraits along their careers. Through their self-images they might be known and approached as a sort of manifest although in two different art history periods, following the aesthetic preferences according to their time: they undertook different artistic references and moved their thoughts in each other lasting sociocultural Umwelt. They identify divergent dialogues, although converging by the predominance of red color in both compositions. Why is it so often seen in painted portraits, namely in self-portraits, women wearing red in their clothes, even in such different times and belonging to opposing styles and aesthetics? Is it due to the polysemic meaning of the color or might it be only a matter of personal taste by means of a color that improves beauty and allows recognizing power of the figure portrayed? Does it work out mainly as a symbolic strategy in terms of visual perception towards the spectator, caused by its chromatic intensity in our visual lasting memory? Also because of the recurrence in portraits that proliferate in occidental iconography, understood as a kind of traditional dress code that suits aesthetically well?
Ambos autores tomaram para metáfora da existência breve o mesmo objeto de uso, abordando-o em consentaneidade à sua determinação pessoal. A chávena de chá/café em cima de um pires constitui um objeto de uso, banalizado nos rituais do dia ou da noite, quer nas sociedades ocidental, quer na oriental. Transpõem espaços e tempos, celebrando memórias retomadas sob auspício intuitivo, lembrando Marcel Proust. A chávena de chá tratada no conto de Almada, que adiante se aborda, seria a explicitação poética, a partir da peça representada na pintura de Columbano, de 1889. Contrariamente à pintura de Columbano, a chávena de Almada é decifrável na íntegra e extrapola deliberações éticas e estéticas, societárias e psicoafectivas. Expõe a ironia existencial, subsumida a códigos comportamentais de época que persistiam. Existe uma narrativa verbicovisual que é o outro lado da criação artística de Almada, então em início de carreira.
No caso de Fernando Pessoa, através de Bernardo Soares, a dominância ecfrástica é determinadora e conduz o leitor num constructo que radicaliza o sentimento derisório do autor enquanto empregado de escritório lisboeta. As suas conclusões acerca dos conteúdos semânticos ausenciados na chávena são irrefutáveis e transpiram coerência e rigor de observação imparcializada e fria quase.
Estamos, pois, na era pequena das viagens que tendo sido feitas, irrompem no nosso pensamento, assim como aqueles que nunca se tenham realizado. Há uma certa indistinção, tão longe tudo se posiciona. As viagens da memória ou da expetativa, que se previam para um futuro inominado, ultrapassam os condicionalismos, vencem as limitações quando se escrevem ou buscam em imagens entrepostas. A viagem que se fez (e se perdeu) ou a viagem nunca concretizada confundem-se. Quer-se que a viagem nunca feita seja plácida, circunde as paisagens internalizadas por cada pessoa, repita (e repense) trajetos partilhados em escritas por autores ao longo de séculos, assim afiançando identidades - sucessivas ou distópicas, consagrando excelências além-tempo no espaço exterior.
Therefore, in order to make record of these presentations, a call for chapters has been promoted. In this way, issuEs 21 – Issues in Education, an e-Book, has been born.
similitudes e dissemelhanças, em confronto aos relatos de autores franceses do mesmo período. De balizar, portanto as menções a locais, sítios, monumentos, paisagens revisitando a iconografia fotográfica
produzida por profissionais da época. No prefácio, José Maria d’Eça de Queiroz1 conjetura sobre o título “visões do Oriente” do volume
póstumo (Livraria Lello, Porto) resultante da compilação das notas sobre o périplo de seu Pai pelo Egipto e Terra Santa: “Toda a viagem tem a rapidez efémera d’uma visão. São pouco mais de seis semanas, em
que as paisagens, as architecturas, as impressões se sucedem vertiginosamente. Os quadros acumulam-se, as observações amontoam-se”.2 O termo visões convoca a perceção do real e as imagens mentais, elaboradas pelo imaginário. Atendeu-se a parâmetros significativos da visão memorial, entendendo como os relatos e impressões de viagem restauram a transitoriedade; averiguando a efetivação citada nas narrativas. Assim, a análise radica numa indexação subjetiva, mediante a seleção de excertos, subsumidos
a temas/aspetos, e fundamentada em leituras [ecfrásticas] concatenadas. "
survey of all the important names that stand out in the historiography of Portuguese art, which is why there is a pressing need for future events to complement this first showing. The history of Portuguese art in the 20th century may also be constructed by focusing upon the inter-relationship between the image and writing, a persistent and relevant trend that has
involved authors of unquestionable talent, and has accompanied the general development of poetry and literature and the performing arts.
At the beginning of that century, the most representative and high-profile case in Portugal (though achieving recognition only belatedly) was Amadeo de Souza-Cardoso, who made use of fragments of writing in his compositions, giving them a privileged place in keeping with the
languages of synthetic cubism, futurism and Dadaism, which were at that time emerging (definitively). As was the case with other unquenchable artists, the very act of integrating external elements into his painting led to an expansion into new combinations, revealing an overlapping relatedness peopled by words from his private hoard, chosen for their creative and provocative seductiveness.
O que existirá de comum entre a escultura de Jörg Immendorff Fortuna: Läuferin auf der Weltkugel
(1989), a sua pintura Ohne Titel (Fortuna) de 2000 e/ou as distintas figurações estereotipadas da deidade Fortuna
ao longo da Cultura e Arte na Europa? Procede-se ao meapeamento das iconografias que representam
Fortuna e/ou Tyché, considerando a postura, pose e esboço de movimento, assim como os atributos, objetos
e enquadramentos que sejam representados. Tomou-se como substância uma compilação de certas imagens
escolhidas que cumprem um arco cronológico, iniciado na Antiguidade Grega, atravessando os séculos e apontando
casos na Arte Moderna e Contemporânea. Qual a recorrência, repetição de estereotipos e atitudes convencionais
na personificação da deidade, quais os contextos que assim a determinam, associada ao Erro… eis
como se o mundo, em cronologias tão díspares, afinal fosse um doppelgänger, uma dimensão pequena perante
o gigantismo cosmogónico.
Palavras-chave: Fortuna-Tyché; Erro; Alegoria; Figura; Iconografia.
The self-portrait (self-identity condition) exposes, proclaims either illusions or reifies intimacy [factual or fictional], based on artistic stipulations, sociocultural conjunctures and aesthetic concatenations, in order to attend to self-portraits in their visual and verbal- visual. Consider how almost every authorial work can be regarded as self-portrait. It is therefore appropriate to inquire, while we are "other", what the artist / author herself places herself, what inhabits her self-portrait: image-icon-word, portrait that transcends the person, internalizing it in the residual authority of each person, as make sure a "house" of word and image is dealt with.
Two emblematic self-portraits, one painted by the Portuguese female artist Aurélia de Souza (b. 1866- d. 1826), the other by the Brazilian artist Tarsila do Amaral (b.1886- d.1973). A common denominator stands out in the two self-portraits chosen for this essay: red color. Aurelia de Souza painted her most well-known portrait in 1900 after returning from a long journey abroad, mainly studying at Paris. Tarsila do Amaral, on the contrary, portrayed herself during one of her stays at Paris, apparently with a costume she wore at a dinner party in 1923. How can a color be a clue, or a vestige, or an essence ... as it configures the iconographic identity of a painter, at different stages of historical consciousness as to the role of female self-portrait in aesthetics and artistic thought?
Those two women belong to different generations, but both of them have chosen to present themselves in different self-portraits along their careers. Through their self-images they might be known and approached as a sort of manifest although in two different art history periods, following the aesthetic preferences according to their time: they undertook different artistic references and moved their thoughts in each other lasting sociocultural Umwelt. They identify divergent dialogues, although converging by the predominance of red color in both compositions. Why is it so often seen in painted portraits, namely in self-portraits, women wearing red in their clothes, even in such different times and belonging to opposing styles and aesthetics? Is it due to the polysemic meaning of the color or might it be only a matter of personal taste by means of a color that improves beauty and allows recognizing power of the figure portrayed? Does it work out mainly as a symbolic strategy in terms of visual perception towards the spectator, caused by its chromatic intensity in our visual lasting memory? Also because of the recurrence in portraits that proliferate in occidental iconography, understood as a kind of traditional dress code that suits aesthetically well?
Keywords:
Aurelia de Souza; Tarsila do Amaral; Female artist /author; Self-portrait; Red Color.
(Venayre 2012, 10). O ímpeto de viajar propagou-se na Europa, almejando destinos longínquos, territórios sob tutela de países colonialistas, de onde os viajantes eram originários ou manifestavam afinidade. A Inglaterra e a França lideravam no respeitante ao sector feminino que viajava, não excluindo europeias de outras nacionalidades – poucas, certamente, portuguesas. ..
1. Sculpture by Ângelo de Sousa
2. Intervention by Pedro Cabrita Reis