RESUMEN
This psychobiography of Frida Kahlo explores the psychology of the famous Mexican artist. Drawing upon Kahlo's paintings and diary entries, a rich psychological analysis of the feminist icon is juxtaposed with the zeitgeist of 20th century Mexico. Framed through the theoretical model of feminist psychology, Kahlo's role in promoting gender equality and dismantling patriarchal society is discussed. Physical pain resulting from illness and impalement by a metal pole in a trolley accident was matched, if not exceeded, by the psychological pain the artist felt due to resulting issues with fertility and the long-sought but never-realized role of motherhood, infidelity within her marriage, and the eventual loss of her ability to paint. Nevertheless, Kahlo's perseverance and strength led to worldwide recognition of her bold and vibrant paintings, vulnerably depicting her rich inner world. The present study utilises perspectives from art therapy and attachment theory to elucidate the factors contributing to Frida Kahlo's resilience in the face of lifelong trauma and chronic pain. Ultimately, Kahlo's life and work offer valuable insight into the psychological experiences of women in patriarchal societies, emphasising the importance of feminist perspectives in psychological research and highlighting the healing and resilience-promoting role of art.
Asunto(s)
Dolor Crónico , Pinturas , Resiliencia Psicológica , Femenino , Humanos , Pinturas/historia , Feminismo , MéxicoRESUMEN
Objetivo: apontar as contribuições das artes plásticas na disseminação dos jogos e brincadeiras tradicionais, com base em pinturas de artistas nacionais, e sugerir estratégias de releitura e ressignificação para difundi-los no contexto da Educação Física. Metodologia: O estudo teve uma natureza qualitativa e foi desenvolvido por meio de pesquisas bibliográfica e exploratória, realizada em sites constantes do portal de buscas Google, aplicando-se os descritores relativos a pinturas de jogos tradicionais e pinturas de crianças brincando. Resultados e discussão: A amostra intencional foi composta pelas obras de 05 pintores brasileiros, famosos por retratarem cenas de crianças em dinâmicas de expressão da ludicidade, focalizando jogos e brincadeiras tradicionais. Foram sugeridas estratégias de releitura dessas obras, a partir de jogos sensitivo-expressivos e da produção de histórias em quadrinhos. Conclusão: Os dados analisados descritivamente ressaltam que, esse conteúdo pautado nas artes plásticas, atividades expressivas e quadrinhos, pode favorecer subsídio adequado para aquisição e difusão de conhecimento sobre jogos tradicionais, sobretudo no contexto da Educação Física
Objective: to point out the contributions of the visual arts in the dissemination of traditional play and games, based on paintings by national artists, and to suggest strategies for reinterpretation and reframing to disseminate them in the context of Physical Education. Methodology: The study had a qualitative nature and was developed through bibliographical and exploratory researches, carried out on websites listed on the Google search portal, applying the descriptors relating to paintings of traditional games and paintings of children playing. Results and discussion: The intentional sample was composed of the works of 05 Brazilian painters, famous for portraying scenes of children in playful activities, focusing on traditional play and games. Strategies for rereading these works were suggested, based on sensitive-expressive games and the production of comic books. Conclusion: Data were descriptively analyzed and highlights that this content involving visual arts, expressive activities and comics can provide adequate support for the acquisition and dissemination of knowledge about traditional games, especially in the context of Physical Education.
Objetivo: señalar los aportes de las artes visuales en la disseminación de juegos y juegos tradicionales, a partir de pinturas de artistas nacionales, y sugerir estrategias de reinterpretación y replanteamiento para difundirlos en el contexto de la Educación Física. Metodología: El estudio tuvo carácter cualitativo y se desarrolló a través de investigación bibliográfica y exploratoria, realizada en sitios WEB listados en el portal de búsqueda Google, aplicando los descriptores relacionados a pinturas de juegos tradicionales y pinturas de niños jugando. Resultados y discusión: La muestra intencional estuvo compuesta por las obras de 05 pintores brasileños, famosos por retratar escenas de niños en actividades lúdicas, centrándose en los juegos y juegos tradicionales. Se sugirieron estrategias de relectura de estas obras, basadas en juegos sensibles-expresivos y en la producción de cómics. Conclusión: Los datos analizados descriptivamente resaltan que estos contenidos que involucran artes visuales, actividades expresivas y cómics pueden ofrecer un soporte adecuado para la adquisición y difusión de conocimientos sobre los juegos tradicionales, especialmente en el contexto de la Educación Física.
Asunto(s)
Humanos , Juego e Implementos de Juego , Arte , Conocimiento , Pinturas , Educación y Entrenamiento Físico , Cultura , Difusión , Metodología como un TemaRESUMEN
O artigo trata de símbolos teriomórficos referidos a animais. A importância que exercem pode ser atestada pela permanência na arte (pinturas parietais até os grafites contemporâneos) e na psique. A perpetuação de símbolos e temas é tratada por estudos como os de Aby Warburg em história da arte, com as noções de Kulturgeschichte, Pathosformele Mnemosyne: a recorrência de temas, emoções e comportamentos revela a perpetuação de símbolos interligados à cultura. Essa recorrência simbólica, em termos psíquicos é entendida por C.G. Jung mediante as noções de arquétipo e inconsciente coletivo. Autores contemporâneos a Warburg e a Jung e seus respectivos conceitos, bem como a apresentação de algumas obras de arte, ilustram a importância dos símbolos teriomórficos.Aventa-se a hipótese de que seja uma necessidade psíquica de reunir a natureza biológica, sua força desejante instintiva com a esfera da mente e do sentido de ser constantemente renovada (AU).
Teriomorphicsymbols refer to animals. The importance they exercise can be demonstrated by the permanence of these symbols both in art (parietal paintings to contemporary graffiti) and in the psyche. The perpetuation of symbols and themes is dealt with by studies suchas those by Aby Warburg in art history: Kulturgeschichte, Pathosformel and Mnemosyne. The recurrence of themes, emotions and behaviors reveals the perpetuation of symbols intertwined with culture. This symbolic recurrence, in psychic terms, is understood by C.G. Jung through the notions of archetype and collective unconscious. Contemporary authors of Warburg and Jungand their respective concepts, as well as the presentation of some works of artillustratethe importance of teriomorphic symbols. It is hypothesized that it is a psychic need to unite the biological nature, its instinctive desiring force with the sphere of the mind and the sense of being constantly renewed (AU).
Los símbolos teriomorfosse refieren a los animales. La importancia que ejercen puede ser atestiguada por su permanencia en el arte (pinturas parietales hasta grafitis contemporáneos) y en la psiquis. La perpetuación de símbolos y temas es abordada por estudios como los de Aby Warburg en historia del arte: Kulturgeschichte, Pathosformel y Mnemosyne: la recurrencia de temas, emociones y comportamientos revela la perpetuación de símbolos entrelazados con la cultura. Esta recurrencia simbólica, en términos psíquicos, es comprendida por C.G. por Jung a través de las nociones de arquetipo e inconsciente colectivo. Autores contemporáneos de Warburg y Jungy sus respectivos conceptos,así como la presentación de algunas obras de arte, ilustran la importancia de los símbolos teriomorfos. Se plantea la hipótesis de que se trata de una necesidad psíquica de unir la naturaleza biológica, su fuerza instintiva deseante con la esfera de la mente y el sentido de renovarse constantemente (AU).
Asunto(s)
Pinturas/historia , Arte/historiaRESUMEN
This article is a historical research that focuses on the site where the National Directorate of Health of the Armed Forces, the Central Hospital, the General Directorate of Peripheral Care, the Supply Division and the Directorate of Architecture and Hospital Engineering are currently located. It has belonged to the Uruguayan State since its creation. During the decades of 1880 and 1890, it was given on loan to one of the oldest clubs in our country, the Montevideo Cricket Club. The first two soccer matches of which there are historical references took place there. Of those first years, there are no photographs of that area, but there is an oil painting made around 1930-34 by a member of the Cricket that until now the only thing that is known of the person is the name, A.W. Hall. Hall. This painting is currently located in the aforementioned clubhouse.
Este artigo é uma pesquisa histórica que se concentra no local onde se encontram atualmente a Diretoria Nacional de Saúde das Forças Armadas, o Hospital Central, a Diretoria Geral de Atenção Periférica, a Divisão de Abastecimento e a Diretoria de Arquitetura e Engenharia Hospitalar. Pertence ao Estado uruguaio desde sua criação. Durante os anos 1880 e 1890, ela foi emprestada a um dos clubes mais antigos de nosso país, o Montevideo Cricket Club. As duas primeiras partidas de futebol, das quais há referências históricas, aconteceram ali. Desde aqueles primeiros anos, não há fotografias desta área, mas há uma pintura a óleo feita por volta de 1930-34 por um membro do Cricket Club, cujo único nome conhecido é A.W. Hall. Salão. A pintura está atualmente alojada na sede do clube acima mencionado.
El presente artículo es una investigación histórica que tiene como eje el predio donde actualmente se erige la Dirección Nacional de Sanidad de las Fuerzas Armadas, Hospital Central, Dirección General de Atención Periférica, División Abastecimientos y Dirección de Arquitectura e Ingeniería Hospitalaria. El mismo pertenece al Estado Uruguayo desde su creación. Durante las décadas de 1880 y 1890, se entregó en comodato a uno de los clubes más antiguos de nuestro país, el Montevideo Cricket Club. En él se llevaron a cabo los dos primeros partidos de fútbol de los cuales se tienen referencias históricas. De esos primeros años, no existen fotografías de dicha área, sí, un óleo realizado alrededor de 1930-34 por un miembro del Cricket que hasta el momento lo único que se conoce de la persona es el nombre, A.W. Hall. Dicha pintura, se localiza actualmente en la sede del club mencionado.
Asunto(s)
Historia del Siglo XIX , Historia del Siglo XX , Pinturas/historia , Hospitales Militares/historia , Fútbol/historia , UruguayRESUMEN
Living organisms can induce deterioration of cultural heritage. Conservation strategies aimed at avoiding damage and aiding restoration, require a comprehensive knowledge of structure, chemical composition, and identity of microorganisms that colonize artworks. The National Theatre of Costa Rica (NTCR), a building with historic architecture, houses several oil paintings from the nineteenth century, some with visible signs of biodeterioration. One of them is a large format painting on canvas called La Danza (size 9.83 × 5.13 m) from 1896 by Italian artist Vespasiano Bignami, located on the ceiling of the theatre's foyer. In the present study, we undertook a physicochemical and microbiological study of La Danza to identify the fungal species that inhabit the artwork and are responsible for the damage observed. Scanning electron microscope (SEM) images and attenuated total reflectance - Fourier transform infrared (ATR-FTIR) spectroscopic data indicated that the canvas material is made of hemp, the binder contains linseed oil and lead white, and a material in the inner face of the canvas is mainly composed of beeswax. Fungi were isolated onto potato dextrose agar (PDA) and carboxymethyl cellulose (CMC) agar, and then identified with molecular (BTUB, nrDNA ITS, and TEF1 regions) and morphological methods. Four isolates belonging to the genera Myxospora, Pestalotiopsis, Ustilago, and aff. Penicillium, were obtained. Qualitative tests showed cellulolytic activity in all isolated specimens, confirming their possible role in biodeterioration of the canvas. Phylogenetic and morphological data revealed a new species of Myxospora we name here as Myxospora theatro sp. nov., in reference to NTCR. The findings broaden the knowledge of fungi capable of inhabiting and damaging cultural heritage. They also provide valuable information to develop strategies for conservation and restoration of oil paintings on canvas.
Asunto(s)
Pinturas , Penicillium , Costa Rica , Hongos , Pinturas/historia , FilogeniaRESUMEN
Introdução: O ato de cozinhar envolve diversos símbolos e significados, sendo uma prática social legítima que pode ser vista como um espaço criativo do cotidiano. Esse ato pode englobar dimensões culturais, ambientais, sociais, econômicas e políticas, sendo um espaço promissor para promoção de diálogos, aprendizados e transformações. Junto a isso, compõe um dos princípios do Marco de Educação Alimentar e Nutricional e é recomendado pelo Guia alimentar para a população brasileira, como uma ação que deve ser valorizada e um passo para se ter uma alimentação saudável. Sendo assim, o ato de cozinhar corrobora com o cumprimento de agendas públicas, o que justifica o desenvolvimento deste estudo. Objetivo: Compreender os significados do ato de cozinhar para as mulheres de um grupo de agricultura urbana (GAU), da zona leste da cidade de São Paulo e entender a relação que estabelecem entre o ato de cozinhar e suas atividades agrícolas. Métodos: O método utilizado foi os mapas corporais narrados, o qual faz uso de desenho, pintura e outras técnicas baseadas na arte, junto a narrativas orais, para representar aspectos da vida das pessoas e também do mundo em que vivem. Participaram do estudo sete mulheres que compõem o grupo "Mulheres do GAU", as quais desenvolvem ações relacionadas à agricultura e ao cozinhar. Os dados gerados foram analisados por meio de análise temática. Resultados: Os resultados são apresentados em duas partes. Parte I: apresentação dos sete mapas corporais narrados construídos. Parte II: apresentação dos resultados e discussão, agrupados em três temas: (I) Os ingredientes do trabalho coletivo, que aborda a relação do cozinhar com o afeto, a fé e as tradições e origens das Mulheres do GAU; (II) O preparo de mesas fartas, no qual se discute a relação das atividades dessas mulheres com a troca e a produção de conhecimentos, junto às transformações que essas práticas geram em suas vidas; (III) Servindo e compartilhando as preparações, que aborda as conexões do ato de cozinhar com a prática de agricultura urbana e como essas atividades se relacionam com o entorno onde vivem e os sistemas alimentares. Conclusão: A partir dos resultados analisados, entende-se que o cozinhar, para as Mulheres do GAU, é uma atividade que engloba mais do que técnicas e habilidades, resgatando, por meio de sua prática, a ancestralidade e a cultura dos envolvidos. O cozinhar proporcionou mudanças em diferentes áreas das vidas dessas mulheres, como em relação aos hábitos alimentares e situação financeira. Também estabeleceu relações com a comunidade onde vivem e outros contextos, além de ser um conector do campo à mesa, fortalecendo as atividades de agricultura que realizam. Nesse sentido, o cozinhar traz a comida para o centro das discussões, oferecendo a oportunidade de aprender e discutir assuntos relacionados aos temas citados acima, como identidade cultural, valorização de conhecimentos e sistemas alimentares sustentáveis. O ato de cozinhar pode ser, então, uma ação propícia para promover saúde no seu sentido mais amplo, contemplando o bem-estar biopsicossocial em consonância com questões de sustentabilidade social, econômica e ambiental.
Introduction: The act of cooking involves different symbols and meanings, being a legitimate social practice that can be seen as a creative space in everyday life. This act can encompass cultural, environmental, social, economic, and political dimensions, being a promising space for promoting dialogues, learning, and transformations. Along with this, it is one of the principles of the Reference Landmark of Food and Nutrition Education for Public Policies and is recommended by the Dietary Guidelines for the Brazilian Population as an action that should be valued and a step towards healthy eating. Thus, the act of cooking corroborates the fulfillment of public agendas, which justifies the development of this study. Objective: To understand the meanings of the act of cooking for women in an urban agriculture group (GAU in Portuguese) in the eastside of São Paulo city and to understand the relationship they establish between the act of cooking and their agricultural activities. Methods: The method used was body-map storytelling, which makes use of drawing, painting and other art-based techniques, together with oral narratives, to represent aspects of people's lives and also of the world in which they live. Seven women who make up the group 'Women of GAU' and develop actions related to agriculture and cooking participated in the study. The generated data were analyzed through thematic analysis. Results: Results are presented in two parts. Part I: presentation of the seven built narrated body maps. Part II: presentation of results and discussion, grouped into three themes: (I) The ingredients of collective work, which addresses the relationship between cooking and Women of GAU's affection, faith, traditions and origins; (II) The preparation of full tables, in which the relationship of their activities with the exchange and production of knowledge is discussed, together with the transformations that these practices generate in their lives; (III) Serving and sharing preparations, which addresses the connections of the act of cooking with the practice of urban agriculture and how these activities relate to the environment where they live and to the food systems. Conclusion: Based on the analyzed results, it is understood that cooking, for the Women of GAU, is an activity that encompasses more than techniques and skills since it rescues the ancestry and culture of those involved. Cooking has brought changes in different areas of these women's lives, such as in the eating habits and financial situation. It has also established relationships with the community where they live and other contexts, in addition to being a field-to-table connector, strengthening the agricultural activities they carry out. In this sense, cooking brings food to the center of discussions, offering an opportunity to learn and discuss issues related to the themes mentioned above, such as cultural identity, valuing knowledge and sustainable food systems. The act of cooking can then be an appropriate action to promote health in its broadest sense, contemplating biopsychosocial well-being in line with issues of social, economic and environmental sustainability.
Asunto(s)
Culinaria , Agricultura Urbana , Promoción de la Salud , Pinturas , Política Pública , Educación Alimentaria y Nutricional , Política Nutricional , Guías AlimentariasRESUMEN
A arte não representacional é outra maneira de aludir à arte abstrata, sendo um estilo no qual os objetos não se parecem com aqueles que se apresentam na natureza física concreta. No último século, foram realizadas investigações experimentais sobre estética e personalidade objetivando revelar fatores contribuintes para as diferenças quanto às preferências artísticas. Este estudo explorou as associações entre abertura à experiência e preferência por arte visual. Os participantes completaram a Escala Fatorial de Abertura e classificaram a preferência por quatro imagens diferentes correspondentes à arte representativa e não representativa. A análise estatística dos dados revelou uma correlação positiva entre o fator Fantasia e a apreciação pelas pinturas abstratas (r =.20). Não foi verificada uma correlação estatisticamente significativa entre essa dimensão e a apreciação de pinturas figurativas. Embora esses achados sejam exploratórios, outras medidas mais completas relacionadas às diferenças individuais e preferências artísticas poderão ser utilizadas em novos estudos no Brasil.
Nonrepresentational art is another way to refer to abstract art elating to a style in which objects do not resemble those known in physical nature. In the last hundred years some experimental investigations of aesthetics and personality have been conducted to reveal fundamental factors which contribute to differences in artistic preference. This study explored associations among openness to experience and preference for visual art. Participants completed an Openess Fatorial Scale and provided preference ratings for different paintings corresponding to representational and nonrepresentational art. The statistical analysis of the data showed a positive correlation between the fantasy factor and appreciation for abstract paintings (r =.20). Here was no statistically significant correlation between this same dimension and the appreciation for figurative paintings. Although these findings are somewhat exploratory and more comprehensive measures of individual differences and art preferences could be employed in new studies in Brazil.
El arte no representacional es otra forma de referirse al arte abstracto que se adapta a un estilo en el que los objetos no se parecen a los que se conocen en la naturaleza física concrecta. En el siglo se han llevado a cabo investigaciones experimentales sobre estética y personalidad para revelar los factores contribuintes a las diferencias en preferencias artísticas. Los participantes completaron una Escala Fatorial de Abertura a experiencia y otorgaron calificaciones de preferencia para 4 diferentes images correspondientes al arte representativa y no representativa. El análisis estadístico de los datos mostró correlación entre el factor fantasía y y la apreciación de pinturas abstractas (r =.20). No fue verificada una correlación estadísticamente significativa entre esta dimension y la apreciación de las pinturas figurativas. Aunque estos hallazgos son exploratorios y podrían emplear medidas más completas de diferencias individuales y preferencias artísticas en nuevos estudios en Brasil.
Asunto(s)
Arte , Estética/psicología , Pinturas/psicología , PsicologíaRESUMEN
ABSTRACT André Brouillet's (1857-1914) famous group tableau 'A Clinical Lesson at La Salpêtrière' (French: Une leçon clinique à la Salpêtrière) is possibly the most celebrated painting in the history of neurology. His depiction of one of Jean-Martin Charcot's legendary "Tuesday Lessons" includes portraits of not only one of the master's most famous patients, but also of his pupils, the heirs to the founder of modern neurology. However, the painter himself has long been neglected, and even his other paintings on medical subjects are little acknowledged. The authors aim to bring attention to Brouillet's life and times, as well as the remainder of his notable works; and in giving a proper context to the famous painting, neurologists today may be able to appreciate better the early history of our field and its cultural impact.
RESUMO A famosa pintura 'Une leçon clinique à la Salpêtrière', de André Brouillet's (1857-1914), é possivelmente a representação mais célebre da história da Neurologia. Seu retrato de uma das lendárias "lições de terça-feira" dirigidas por Jean-Martin Charcot inclui ainda não apenas uma das pacientes mais famosas do mestre como também seus pupilos, os fundadores da Neurologia moderna. Entretanto, o pintor propriamente dito é ainda negligenciado, e mesmo outras pinturas suas sobre temas médicos são pouco reconhecidas. Os autores trazem à atenção a vida e época de Brouillet, bem como o restante de seus outros trabalhos notáveis; dando contexto apropriado à pintura, neurologistas atuais podem compreender melhor a própria história de nossa especialidade e seu impacto cultural.
Asunto(s)
Humanos , Historia del Siglo XIX , Pinturas , Neurología , FranciaRESUMEN
Resumen El Plomo ha tenido una estrecha relación con el mundo artístico pictórico a través de los pigmentos utilizados por los artistas durante milenios. El íntimo contacto con sustancias químicas potencialmente peligrosas para la salud, casi siempre sin medidas de higiene y seguridad laboral, ha desarrollado en muchos casos, enfermedades laborales en estos artistas, a veces sospechadas y en otros casos, más que confirmadas. En el presente trabajo se analiza la historia de vida laboral de Miguel Angel Buonarroti, de quien se tiene registro suficiente como para establecer un nexo causal con exposición laboral al Plomo.
Abstract Lead has shown a close relationship with the fine arts'world through the pigments used by artists for thousand of years. Close contact with potentially dangerous chemical substances for health, almost always without occupational hygiene and safety measures, has produced, in many cases, occupational illnesses in these artists, sometimes suspected and in other cases, more than confirmed. In the present work, the history of Miguel Angel Buonarroti's working life is analyzed, since there is sufficient record to establish a causal link with occupational exposure to Lead.
Asunto(s)
Historia del Siglo XV , Historia del Siglo XVI , Pinturas/historia , Acúfeno/inducido químicamente , Personajes , Intoxicación por Plomo/complicaciones , Enfermedades Profesionales/inducido químicamente , Pintura/envenenamiento , Intoxicación del Sistema Nervioso por Plomo en Adultos/complicacionesRESUMEN
André Brouillet's (1857-1914) famous group tableau 'A Clinical Lesson at La Salpêtrière' (French: Une leçon clinique à la Salpêtrière) is possibly the most celebrated painting in the history of neurology. His depiction of one of Jean-Martin Charcot's legendary "Tuesday Lessons" includes portraits of not only one of the master's most famous patients, but also of his pupils, the heirs to the founder of modern neurology. However, the painter himself has long been neglected, and even his other paintings on medical subjects are little acknowledged. The authors aim to bring attention to Brouillet's life and times, as well as the remainder of his notable works; and in giving a proper context to the famous painting, neurologists today may be able to appreciate better the early history of our field and its cultural impact.
Asunto(s)
Neurología , Pinturas , Francia , Historia del Siglo XIX , HumanosRESUMEN
Paul Klee representa uno de los pilares del arte de vanguardia del principio del siglo XX. Produjo una ingente cantidad de obras artísticas en sus 60 años de vida. La esclerosis sistémica se manifestó cinco años antes de morir, pero no por ello redujo su actividad creadora. En este artículo se analiza su historia y su enfermedad que tanto influyeron en su obra, y que lo convirtieron en ejemplo paradigmático de resiliencia ante la adversidad.
Paul Klee represents one of the pillars of avant-garde art of the early 20th century. He produced an enormous amount of artistic works in the sixty years of his life. Systemic sclerosis appeared five years before he died, but this did not reduce his creative activity. This article analyzes his life and his illness that so influenced his work and that is a paradigmatic example of resilience in the face of adversity.
Asunto(s)
Humanos , Historia del Siglo XIX , Historia del Siglo XX , Pinturas/historia , Esclerodermia Sistémica/etiología , Esclerodermia Sistémica/terapia , Suiza , PersonajesRESUMEN
The historic center of Quito, Ecuador, was one of the first World Cultural Heritage Sites declared by UNESCO in 1978. There are numerous religious buildings built during the Spanish colonial period reflecting the cultural heritage in this area. Between them, the cloisters of San Francisco, Santo Domingo, and Santa Clara should be highlighted. The specific problems of conservation of the outdoor canvas paintings are not well known at the moment. The objective of this paper is to achieve a conservation study of the canvas paintings exhibited in these three cloisters of the historic center of Quito in order to identify the microbial agents and the main bioclimatic parameters of deterioration. For this, a study of the state of conservation of five canvas paintings has been carried out, as well as a sampling and identification of the main microorganisms present on the obverse and reverse of the works, employing diverse techniques, traditional and biomolecular ones. An analysis of climatic conditions has also been achieved in the cloister of San Francisco. The results of the study indicate that the exhibition conditions in the cloisters are really problematic for the conservation of paintings. Important biodeteriorating agents have been isolated, including fungi and bacteria species belonging, among others, to the genera Bacillus, Penicillium, Alternaria, Mucor, and Aspergillus. We have also researched its relationship with the deterioration state of the artworks and the exhibition conditions in each case, proposing guidelines for the proper conservation of this important World Cultural Heritage.
Asunto(s)
Bacterias/aislamiento & purificación , Hongos/aislamiento & purificación , Pinturas , Textiles/microbiología , Alternaria/genética , Alternaria/aislamiento & purificación , Aspergillus/genética , Aspergillus/aislamiento & purificación , Bacillus/genética , Bacillus/aislamiento & purificación , Bacterias/clasificación , Bacterias/genética , Candida/genética , Candida/aislamiento & purificación , ADN Bacteriano/genética , ADN Bacteriano/aislamiento & purificación , ADN de Hongos/genética , ADN de Hongos/aislamiento & purificación , Ecuador , Microbiología Ambiental , Hongos/clasificación , Hongos/genética , Humanos , Penicillium/genética , Penicillium/aislamiento & purificación , Reacción en Cadena de la Polimerasa/métodos , Staphylococcus/genética , Staphylococcus/aislamiento & purificaciónRESUMEN
The painting Portrait of My Father (1951) by the Mexican painter, Frida Kahlo, is discussed by the author within the context of epilepsy and biographical events in the lives of both Frida and her father, the German Mexican photographer Guillermo Kahlo. The biographical accounts of the photographer's seizures are suggestive of juvenile absence epilepsy but cannot discount the possibility of posttraumatic epilepsy of mesial frontal origin.
Asunto(s)
Epilepsia , Pinturas , Padre , Femenino , Humanos , Masculino , México , ConvulsionesRESUMEN
In this study, we compared visual pictorial size perception between healthy volunteers (CG) and an experimental group (EG) of people diagnosed with schizophrenia. We have been using paintings by Salvador Dalí and Rorschach plates to estimate visual pictorial size perception. In this transversal, ex post facto, and quasi-experimental study, we observed differences between EG and CG. Schizophrenic in-patients perceived sizes about 1.3-fold greater than healthy volunteers (p=0.006), implying that pictorial size perception is altered in some way in schizophrenia. Considering the present and previous results, this measurement of diameter size of first pictorial perception may be a useful estimate of some aspects of perceptual alterations that may be associated with psychotic symptoms in prodromal and acute schizophrenic episodes and other related mental states. Eventually, this may help in preventing people from evolving to acute episodes.
Asunto(s)
Humanos , Masculino , Femenino , Adulto , Pinturas/psicología , Esquizofrenia , Psicología del Esquizofrénico , Percepción Visual/fisiología , Percepción del Tamaño/fisiologíaRESUMEN
This study aimed to isolate and identify the population of filamentous fungi colonizing a cotton painting, whose conservation status was compromised and showed signs of biodeterioration due to dirt accumulation and microbial metabolism. In addition, microbiological techniques such as cultivation-dependent approach and molecular biology were used to identify microbial populations and to eliminate their metabolic action. For this, the nondestructive anoxic atmosphere technique was used, in which the microbial metabolism was affected by the absence of oxygen. Prior to exposure to an anoxic atmosphere, only one fungal species, Aspergillus niger, was identified at 12 points sampled in the obverse and reverse of the artwork; no fungal species persisted as a result of anoxic treatment. These results showed that exposure to anoxic conditions was effective for the total elimination of isolated fungal strains as well as their spores. In conclusion, this study proved the unprecedented effectiveness of a nondestructive technique for artwork on textile colonized by black fungi species. Thus, this interdisciplinary work involving conservation, microbiology, and chemistry presents a tool to eliminate microorganisms, while maintaining the integrity of artwork and safety of the restorer, that can be applied prior to artwork restoration.
Asunto(s)
Anaerobiosis/fisiología , Aspergillus niger/aislamiento & purificación , Fibra de Algodón/microbiología , Pinturas , Aspergillus niger/genética , Técnicas Bacteriológicas , ADN Bacteriano/genética , Reacción en Cadena de la Polimerasa , Células MadreRESUMEN
O artigo demonstra a dimensão heterotópica do olhar e do espaço próprios à pintura de Manet. O espaço, tal como concebido por Foucault, se constitui como poder-saber, e o olhar, tal como erigido pela pintura de Manet, visibiliza as heterotopias. A metodologia consistiu na seleção e análise crítica dos textos de Foucault sobre a pintura de Manet e a heterotopia acrescida de bibliografia de comentadores voltados para a análise da pintura, da arte e da heterotopia na obra do pensador. A raridade da reflexão sistemática acerca das considerações foucaultianas sobre a pintura e o espaço concebido como "espaço outro" faz com que a demonstração do entrelaçamento entre o espaço produzido pelas pinturas de Manet e a heterotopia configure novidade na literatura dedicada ao pensador. Concluímos indicando como as discussões estéticas estão indissoluvelmente ligadas às análises do poder. Neste caminho, Foucault indica, por exemplo, que a experiência da transgressão batailliana do olhar evidencia a condição da visualidade pictórica das telas de Manet. A visibilização dos efeitos políticos do espaço e seus outros assim como da produção artística pavimenta um caminho possível para esboçar novas compreensões das relações dos corpos com os enraizamentos espaciais e seus desdobramentos subjetivos singulares...(AU)
This article demonstrates the heterotopic dimension of glance and space in Manet's painting. Space, as conceived by Foucault, is constituted as power-knowledge, and glance, as defined by Manet's painting, reveals heterotopies. The methodology consisted in the selection and critical analysis of Foucault's texts on Manet's painting and the heterotopia plus bibliography of Foucault readers focused on the analysis of painting, art and heterotopia. The rarity of the systematic reflection of the Foucauldian reflections on painting and the space conceived as different space makes the demonstration of the interweaving between the space produced by Manet's paintings and heterotopia configure novelty in the literature dedicated to the thinker. We conclude by indicating how the aesthetic discussions are inextricably linked to the analysis of power. This path that Foucault indicates, for example, that the experience of Bataillean`s transgression of gaze evidences the condition of the pictorial visuality of Manet's canvas. The visibility of the political effects of space and other effects as well as of artistic production paves the way to sketch new understandings of the relationships of bodies with spatial roots and their unique subjective unfoldings...(AU)
El artículo pretende demostrar la dimensión heterotópica de la mirada y del espacio en la pintura de Manet. El espacio concebido por Foucault se constituye un poder-saber, y la mirada erigida por la pintura de Manet visibiliza las heterotopías. La metodología consistió en la selección y análisis crítico de los textos de Foucault sobre la pintura de Manet y la heterotopía, y en la bibliografía de comentaristas dirigidos al análisis de la pintura, del arte y de la heterotopía en la obra del pensador. La rareza de la reflexión sistemática de las reflexiones foucaultianas sobre la pintura y el espacio considerado como "espacio otro" hace que la demostración del entrelazamiento entre el espacio producido por las pinturas de Manet y la heterotopía sea una novedad en la literatura dedicada al pensador. En la conclusión indicamos cómo las discusiones estéticas están indisolublemente vinculadas a los análisis del poder. En este marco, Foucault apunta, por ejemplo, que la experiencia de la transgresión batailliana de la mirada evidencia la condición de la visualidad pictórica de los lienzos de Manet. La viabilidad de los efectos políticos del espacio y sus otros, así como de la producción artística, pavimenta un camino posible para esbozar nuevas comprensiones de las relaciones de los cuerpos con los enraizamientos espaciales y sus desdoblamientos subjetivos singulares...(AU)
Asunto(s)
Humanos , Masculino , Femenino , Pintura , Arte , Poder Psicológico , Pinturas , ConocimientoRESUMEN
Entre 1516 y 1520 Rafael Sanzio (1483-1520) realizó la obra Transfiguración. Es un cuadro de gran formato que representa un relato de los evangelios de Lucas, Mateo y Marcos con dos escenarios principales, el primero en la parte superior muestra la transfiguración de Cristo en el Monte Tabor; el segundo en la parte inferior expone la escena de un niño endemoniado que varios apóstoles intentan curar infructuosamente, lo cual solo ocurrió cuando Jesús lo hizo. Esta composición, en otras palabras, muestra un milagro fallido que no es habitual en el arte sacro. Un análisis desde la semiología neurológica permite aseverar que el niño poseído está presentando una crisis epiléptica tónica postural. Este artículo analiza la obra, la semiología neurológica en ella y su relación con la historia de la neurología
Raphael Sanzio (1483-1520) painted The Transfiguration between 1516 and 1520. It is a large format painting that illustrates two main scenes as described in the Gospel accounts of Luke, Mathew and Mark. The first scene, in the upper half, shows Christ Ìs transfiguration on Mount Tabor; the lower half, shows the devil-possessed child with the apostles who had attempted unsuccessfully to heal him, but Christ heals the boy. In other words, this composition shows a failed miracle which is unusual in sacred art. Based on a neurological semiology analysis we can assert that the possessed boy is experiencing a tonic postural seizure. This article analyzes the painting, the neurological features depicted in it and its relationship with the history of neurology.