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Publication
A crítica na obra de Nadir Afonso : o caso das obras de título citadino
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Advisor(s)
Abstract(s)
Nadir Afonso (1920), personalidade multidisciplinar, pintor, ensaísta e arquitecto, constitui o objecto da presente investigação. A sua obra é, em grande parte, mal conhecida, pouco divulgada e deficientemente estudada. O objectivo deste trabalho visa contribuir para um melhor conhecimento e difusão da sua obra e, numa perspectiva alargada, estabelecer as relações entre a prática da pintura e a estética, debruçando-nos sobretudo, sobre a sua obra pictórica que surge relacionada com a temática da cidade.
Ao longo do nosso trabalho, constatamos considerações infundadas que são tecidas em torno da obra plástica e estética devido à ilusão de conhecimento dos seus autores. Em contrapartida, esboçamos e transcrevemos fragmentos de textos estéticos de Nadir Afonso para rebater tais alegações.
Apesar de se tratar de uma obra demasiado extensa, adquirimos um conhecimento alargado da maioria da sua produção artística, o que nos permite reconhecer o pioneirismo e a originalidade das soluções criativas e teóricas, e a consequente demonstração da importância da obra. Para o artista, todo o processo de criação artística obedece a um rigoroso trabalho de contemplação e meditação que culmina na procura da essência da arte, que considera ser, de origem matemática.
A cidade constitui um tema constante na história da pintura do mundo ocidental e também na obra de Nadir Afonso. Revelaremos como as cidades reais ou imaginadas marcam a sua obra e são fruto de um aturado e perseverante trabalho. Mencionamos os
fundamentos gerais da sua teoria estética, em que a representação do objecto não confere especificidade à obra de Arte.
Nadir Afonso (b. 1920), a multidisciplinary personality, painter, writer and architect, is the object of this research project. In the main, the body of this work is imperfectly known, scarcely disclosed and hardly studied. The aim of this undertaking is to contribute to a better understanding and dissemination of his work and from an enlarged perspective establish the relations between painting and aesthetics, concentrating above all on his pictorial output that appears in connection with the city as its theme. In our research we came across unfounded reflections fabricated about his plastic and aesthetic work, due to their authors’ delusions of knowledge. In response to this we have outlined and transcribed fragments of aesthetic texts by Nadir Afonso to refute such allegations. Although this is an excessively lengthy work, through it we have become comprehensively acquainted with most of his artistic production. This has allowed us to recognise his pioneering spirit and the originality of his creative and theoretical solutions and the consequent demonstration of the importance of his work. To the artist each process of artistic creation is done with meticulous attention to contemplation and meditation, which culminates in the search for the essence of art, which he believes is mathematical in origin. The city is an ever-present theme in the history of painting in the Western world and also in the work of Nadir Afonso. We will reveal how real or imaginary cities mark his work and are the result of a time-consuming and persevering task. We also provide an overview of his aesthetic theory, in which the representation of the object does not give specificity to the work of art.
Nadir Afonso (b. 1920), a multidisciplinary personality, painter, writer and architect, is the object of this research project. In the main, the body of this work is imperfectly known, scarcely disclosed and hardly studied. The aim of this undertaking is to contribute to a better understanding and dissemination of his work and from an enlarged perspective establish the relations between painting and aesthetics, concentrating above all on his pictorial output that appears in connection with the city as its theme. In our research we came across unfounded reflections fabricated about his plastic and aesthetic work, due to their authors’ delusions of knowledge. In response to this we have outlined and transcribed fragments of aesthetic texts by Nadir Afonso to refute such allegations. Although this is an excessively lengthy work, through it we have become comprehensively acquainted with most of his artistic production. This has allowed us to recognise his pioneering spirit and the originality of his creative and theoretical solutions and the consequent demonstration of the importance of his work. To the artist each process of artistic creation is done with meticulous attention to contemplation and meditation, which culminates in the search for the essence of art, which he believes is mathematical in origin. The city is an ever-present theme in the history of painting in the Western world and also in the work of Nadir Afonso. We will reveal how real or imaginary cities mark his work and are the result of a time-consuming and persevering task. We also provide an overview of his aesthetic theory, in which the representation of the object does not give specificity to the work of art.
Description
Dissertação de Mestrado em Estudos do Património apresentada à Universidade Aberta
Keywords
Nadir Afonso, 1920-2013 Biografias História da arte Arte Pintura Estética Cidade Geometria Art City Geometry Harmony Nadir Afonso Painting