X D. João VI Museum Seminar - Artist s representations

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1 X D. João VI Museum Seminar - Artist s representations VI International Colloquium: Art Collections in Portugal and Brazil in the 19 th and 20 th centuries Artists collections May 27th to 31st 2019 Museu Nacional de Belas Artes MNBA Avenida Rio Branco, 199 Centro, Rio de Janeiro RJ, Brazil. PRESENTATION Two usual events in the field of Art History gather in 2019 around a common theme. The 10th D. João VI Museum Seminar focuses on artist s representations, in order to accompany the exhibition organized by São Paulo s Pinacoteca do Estado and Rio de Janeiro s National Museum of Fine Arts. The VI International Colloquium: Art Collections in Portugal and Brazil in the 19 th and 20 th centuries is a yearly event whose location alternates every year between the cities of Lisbon and Rio de Janeiro. In this 2019 edition, it presents a theme dealing with collecting practices in the visual artists, and also continues, from another point of view, the discussion around artists representations. By uniting both events in a single venue that has attracted great interest among researchers, graduate and post-graduate students, we believe we can provide greater visibility to both and ensure a greater socialization of academic research.

2 X D. João VI Museum Seminar - Artist s representations May 27th to 29th, 2019 What are the representations of the artist's figure and how have they transformed over time? Intellectuals or artisans, martyrs or demons, naive or revolutionary, madmen or philosophers? Possibly, artists have been and still are characters in which several layers of interpretation coexist and blend. In this X edition of the D. João VI Museum Seminar, we present the theme "artist s represetations", in parallel to the exhibition organized by Pinacoteca do Estado de São Paulo and the Brazilian Museum of Fine Arts, with the objective of investigating the historical constructions of the artist's image, bringing the reflection to the Brazilian and Latin American context, past and present. This has been extensively explored in French and English literature and acquires special relevance in this specific geographic universe, marked by the social distinctions concerning manual labor and the late formation of the art medium in the modern sense, after the formation of the academies and an artistic promotion system through exhibitions and the art market. The ways in which we understand this figure in the history of art are the result of the visual and textual discourses built upon it. Its representations are present in portraits and self-portraits, sculptures, paintings, engravings and objects. It is also built through artistic criticism, the press, caricature, pieces of literature, biographies, or autobiographies. From texts of self-promotion to cinematographic works, we are interested in all forms of representation of the artist's figure, both visual and textual. Our temporal range is ample, reflections on the artist in diverse historical places and periods, including contemporaneity, are emphasized in the Brazilian and Latin American context, without ignoring comparative perspectives. Our starting point is the following question: In what ways have the transformations of perception about artists and their meanings (social, cultural, symbolic and political) marked the writings of art history? THEMATIC AXIS: The seminar is organized around three thematic axis: creation and craftsmanship, the artist s persona, and the artist and his models, which create a direct dialogue with the current exhibition about artists representations.

3 1 - Creation and Craft The first axis is devoted to the artist during the process of creation, performing his craft in his workshop, his studio or outdoors. The representations of these processes construct the artist s image and as well as his/her relationship with the ideal and the real, the imagination, nature, fantasy and reality. 2 - The artist s persona The second axis encompasses portraits and self-portraits dealing with the construction of the artist s persona and of his own myth, as well as with pre-defined social roles based on gender, race and cultural identities. It includes self images and images constructed by others: artists, critics, art historians, writers, curators, etc. 3 - The artist and his models The third axis contemplates the relationship between the artist and his or her models: images from his education and from his masters, references (both textual and visual), conceptual models (allegories of nature, of art objects and of creation) as well as concrete models (live models, photographs and presential poses). VI International Colloquium: Art Collections in Portugal and Brazil in the 19 th and 20 th centuries Artists collections May 29th, 30th and 31st 2019 The majority of art collectors tend to imprint a character of diversity into their collections. But a few give preference to certain artists; there are even those who prefer a single one. There are also heirs to artist s estates who safeguard documents and works of art that stayed within the artists possession, never entering the public sphere or the art market. Some institutions also may prioritize a single artist, by means of donations or acquisitions. Every selection, once made, ends up constituting a form of representation, even if a partial one, of this artist s work. Contrary to a catalogue raisonné, those clippings allow us to consider art and the artist in association with a certain taste or particular circumstances which constitutes a sort of private contingent curatorial choice, and allows for a peculiar narrative within the framework of arts history. Artists also collect (and not only art works), either embracing the eagerness of the amateur collector, or in order to use the collection in their own works. Artists personal collections suggest different interpretations. They

4 point to the role they play in the creative process, for inspiration, references and usages. There are those who gather documents and objects, as archives ready to be accessed for the assemblage of their works. On the other hand, a few others get disconnected from their poetic processes, and present themselves parallel to the creative praxis, even though the latter are still part of the artist s visual culture, of his taste and aesthetic preferences. Confronted with particular social interactions, friendships and opportunities, several artists gather works of their contemporaries, bartered because of artistic camaraderie or exchanges in experiences, as if they were visual conversations interchanging ideas, memories, proposals, and inquiries. And there are also artists who collect their own works, preserving what is dear to them or pieces that did not deserve to be exhibited. Those choices allow us to behold facets of the artist s stories by means of their material possessions. This colloquium thus proposes to try and better understand how an artist is behold through collections, images and self-images of representations, of himself by means of what he collects, of what was acquired by certain collectors or institutions, what stayed in his possession or that of his heirs. Different from the comprehensive look we give to an artist s oeuvre, by looking at artists collections we aim to prioritize clippings, sub-ensembles, aesthetic partialities, to assess the links of art with life and the innumerable combinations between the artist and his oeuvre as confronted by his collections - personal, private or institutional, by the contingencies of the market, of production, circulation and reception, underscoring the potential creation of different art histories by means of these collections. THEMATIC AXIS: 1 - An artist in a collection and art in clippings For reasons of opportunity, affinities and/or choices, some collectors, both from the private and from the institutional viewpoint, end up selecting specific artists. They thus create a particular clipping of their work, which sets up some kind of curatorship. The works gathered by this means are proposed as a minute facet of a total body of work. What narratives lie below these details and to what point do collectors choices construct different views about the artist? 2 Collections as inspiration: artists works and the use of their material archives Several artists gather and collect treks, stuff and things, artifacts and documents inherent to their creative process, which function as resources to be used in their artistic propositions. For some artists, this process of gathering and archiving develops into particular poetic issues. What poetical potentials do collections-as-

5 inspiration or works-as-archive allow them to develop? What languages are articulated by the practice of using archives and collections? 3 The artist-collector: ownership of works of art and/or works of other artists Some collectors obsession may also affect artists. Several of them collected objects according to their own tastes and will: peculiar pieces, either inherited or bought, or even works by other artists, acquired or given to them. What dialogues do their collections establish with their own poetic issues? What can they tell us about these artist s personalities? Do they differ in any way from those of non-artist collectors? 4 - The artist as his own collector (and as collector of his inheritances) The works of some artists end up staying with them, sometimes because they were not absorbed by the art market, or because they remained unfinished, or even because the artist preferred them and they became a private collection of his own work. Sketches, projects, writings, notes and experiments also constitute artists collections which, together with their preserved works of art, form a corpus of his or her creative process and this is often inherited by family members, who confer to them yet other meanings and courses. How do we approach these collections? What stories are they able to narrate? COORDINATORS: Alberto Martín Chillón (Universidade Federal do Rio de Janeiro, Brazil) Ana Cavalcanti (Universidade Federal do Rio de Janeiro, Brazil) Arthur Valle (Universidade Federal Rural do Rio de Janeiro, Brazil) Fernanda Pitta (Pinacoteca do Estado de São Paulo, Brazil) Maria João Neto (Universidade de Lisboa, Portugal) Marize Malta (Universidade Federal do Rio de Janeiro, Brazil) Sonia Gomes Pereira (Universidade Federal do Rio de Janeiro, Brazil) ORGANIZING COMMITTEE: Alberto Martín Chillón (Universidade Federal do Rio de Janeiro, Brazil) Ana Cavalcanti (Universidade Federal do Rio de Janeiro, Brazil)

6 Arthur Valle (Universidade Federal Rural do Rio de Janeiro, Brazil) Flora Pereira Flor (Secretary Research Group Entresséculos, Brazil) Maria João Neto (Universidade de Lisboa, Portugal) Marize Malta (Universidade Federal do Rio de Janeiro, Brazil) Patricia Delayti Telles (Translation CEAACP/Coimbra; CHAIA, Universidade de Évora, Portugal) Rafael Bteshe (Design - Universidade Federal do Rio de Janeiro, Brazil) Sonia Gomes Pereira (Universidade Federal do Rio de Janeiro, Brazil) SCIENTIFIC COMMITTEE: Alain Bonnet (Université Bourgogne - ub, France) Chantal Georgel (Institut national d histoire de l art - INHA, France) Katherine Manthorne (The Graduate Center of The City University of New York, United States of America) Maraliz Christo (Universidade Federal de Juiz de Fora, Brazil) Marisa Baldasarre (CAIA; IDAES; Universidad Nacional de San Martín - UNSAM, Argentina) Paulo Knauss (Universidade Federal Fluminense; Museu Histórico Nacional - MHN, Brazil) Raquel Henriques (IHA da Faculdade de Ciências Sociais e Humanas - FCSH da Universidade Nova de Lisboa - NOVA, Portugal) Vítor Serrão (ARTIS-IHA da Faculdade de Letras da Universidade de Lisboa - FLUL, Portugal) SUPPORT COMMITTEE: Ana Paula Coutinho de Souza (EBA/ UFRJ) Cecilia de Oliveira Ewbank (PPGAV / EBA/ UFRJ) Maria Teresa da Silveira (PPGAV / EBA/ UFRJ) Natália dos Santos Nicolich (PPGAV / EBA/ UFRJ) Sofia Inda (PPGAV / EBA/ UFRJ) Tássia Christina Torres Rocha (PPGAV / EBA/ UFRJ) ORGANIZATION: Research group ENTRESSÉCULOS Post-Graduate Program in the Visual Arts - PPGAV / School of Fine Arts - EBA / Federal University of Rio de

7 Janeiro - UFRJ Department of Arts / Rural Federal University of Rio de Janeiro - UFRRJ Museu Nacional de Belas Artes - MNBA /Instituto Brasileiro de Museus - IBRAM/Ministério da Cultura - MinC Pinacoteca do Estado de São Paulo Instituto de História da Arte - ARTIS-IHA / Faculdade de Letras da Universidade de Lisboa - FLUL SUPPORT: Center of Letters and Arts - CLA / UFRJ School of Fine Arts - EBA / UFRJ APPLICATION PROCESS Presentations must be submitted in Portuguese, Spanish, French or English, and in one of the following modalities: 1) Oral presentations (15 minutes) 2) Posters Proposals for both modalities will be assessed and selected by the Scientific Committee and they must be in agreement with the event s theme. CHRONOGRAM We will accept proposals written in Spanish, French, English and Portuguese Deadline for submission (proposal): January 15th Results will be stated on: February 8th Program will be released on: February 27th Date and location of the event: May 27th to 31st 2019 at the National Museum of Fine Arts (Museu Nacional de Belas Artes), in Rio de Janeiro, Brazil. Deadline for submission (text for publication): June 27th 2019.

8 REGISTRATION In order to attend, all participants and members of the public must register by filling an a REGISTRATION FORM, and making a deposit in the event s bank account, according to the prices and deadlines stated below. The complete registration form and a proof of payment must be sent to the following joaosextoseminario@gmail.com Payment information Bank: banco Itaú (341) Branch number: 0409 Account (Conta Poupança) /500 Account holder: Marize Teixeira CPF (fiscal number): Prices Until 31/01 Until 31/03** Until 27/05** Undergraduate students* R$ 15,00 R$ 20,00 R$ 25,00 Graduate students * R$ 30,00 R$ 35,00 R$ 40,00 Professionals R$ 60,00 R$ 70,00 R$ 80,00 * It is necessary to provide confirmation the applicant is indeed a student. ** Only money and personal checks will be accepted for payment at the event s secretarial office. Participants from other countries may pay during the first day of the event. Free of charge for Professionals working at Museu Nacional de Belas Artes (MNBA) Professionals working at Pinacoteca do Estado de São Paulo Professionals working at Museu D. João VI (MDJVI)/ Biblioteca de Obras Raras da Escola de Belas Artes (EBAOR)

9 Invited lecturers Coordinators, members of the Organizing, Scientific and Support Committees of the X Seminário do Museu D. João VI / VI Colóquio Coleções de Arte em Portugal e Brasil nos Séculos 19 e 20 SUBMISSION OF PROPOSALS Download, fill out, and send the formulary for communication proposals or posters to the following joaosextoseminario@gmail.com, with: Author(s) Name, title, institutional affiliation, address and . Title of presentation Keywords (3 to 5) Modality chosen (oral presentation or poster). Thematic axis to which the work is related Abstract highlighting the relevance of this work (up to characters with spaces). Presentation / professional link (three lines maximum). TEXT FOR PUBLICATION Texts for publication must be sent in a text file in a format that can be edited doc or docx as well as in PDF, to the electronic address joaosextoseminario@gmail.com until June 27th The complete papers must have a minimum length of 10 pages and a maximum of 12 (a page is defined as being composed of 30 lines with up to 70 characters with spaces per line, amounting to about characters with spaces per page). They can have 5 images maximum (included in the page count). They must be unpublished and follow the following format: Page: Margins (upper, lower, left and right): 2,5 cm. Do NOT number the pages. Title: Arial, size 11, bold, centered, all capital letters, no space between the lines and between paragraphs. Author(s): Arial, size 11, bold, aligned to the right, without spaces between the lines or between paragraphs.

10 Text: Arial, size 11, justified, no indentation in the first line of paragraphs, 1,5 space between the lines and 6 pts between paragraphs. Quotes of more than 3 lines: indentation of 4 cm, font 9, simple spaces between lines and 0 pts between paragraphs. References: Use Author-Date system (ABNT NBR 10520). Short cv of the author(s): At the end of the text, with a maximum size of 8 lines in font Arial, size 11, justified, no indentation in the first line of paragraph, simple spaces between lines and 6 pts between paragraphs. Explanatory notes and bibliographic references: at the end of the document, sequentially numbered in Arabic numerals, Arial, size 9, justified, no indentations and/or separations, simple space between lines and 0 pts between paragraphs. Images: texts must have a maximum of 5 images. Those images must have a minimum resolution of 300 dpi or 1024 pixels in the smaller side. All visual resources (images, graphics, tables, plants, maps, etc.) must be identified in the lower part with captions and credits. Use Arial, size 9, centralized, no indentation and/or separations, no space between lines and between paragraphs. Keep the Author-Date reference for the image sources. The location of the images must be stated in the text and the image archives must be sent separately in either JPEG or TIFF (with no interpolation) in high resolution, identified with a number corresponding to the figure in the text. Visual resources must be quoted in the text, identifying the place of their insertion. We highlight the fact that these visual resources count in the final pagination of the article. We remind you that all texts must follow the latest spelling norms and must be submitted to revision, given that authors will be held totally responsible for the contents of their writings. Authors will also be held responsible for obtaining all necessary authorizations for the images reproduction and publication rights.

11 NORMS FOR THE CREATION OF POSTERS The posters must be made in resistant materials with the following dimensions 120 cm (height) x 90 cm (length). They must be provided with support structures (rods) on the top and bottom for fastening. They must include the following information: Title - in bold Author(s) name(s), followed by his/her/their professional or institutional status; Text: Abstract and/or topics highlighting the relevance of this work; Keywords in bold; Justification (s); Objective(s); Method(s); Result(s); Bibliographical Reference(s) only the most directly linked to the topic in order to facilitate the understanding of the research; An address for contact, as well as websites and funding agencies can also be included - and must be mentioned in the lower bar. In order for the poster to be published in the annals of the event, send the text archive in a format that can be edited doc or docx and in PDF to the following address joaosextoseminario@gmail.com until June 27th The article must have a minimum length of 1 page and a maximum of 3 (a page is here defined as being composed by 30 lines with up to 70 characters with spaces per line, amounting to about characters with spaces per page). They can have 5 images maximum (included in the page count) and must follow the same formatting rules stated in the item called Text for publication.

12 APPLICATION FORM - PROPOSALS FOR ORAL PRESENTATIONS OR POSTERS Name: Title: Institutional Affiliation: Address: Telephone and cell phone: Title of the presentation or poster: 3-5 keywords: Submission type: ( ) oral presentation ( ) poster Thematic Nuclei: X D. João VI Museum Seminar - Artist s representations ( ) Creation and Craft ( ) The artist s persona ( ) The artist and his models VI International Colloquium: Art Collections in Portugal and Brazil in the 19th and 20th centuries Artists collections ( ) An artist in a collection and art in clippings ( ) Collections as inspiration: artists works and the use of their material archives ( ) The artist-collector: ownership of works of art and/or works of other artists ( ) The artist as his own collector (and as collector of his inheritances) Summary stressing the presentation s relevance (max characters including spaces):

13 Presentation / professional link (three lines maximum).