Agostinho José da Mota

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Agostinho José da Mota , contemporary spelling Motta , (born June 18, 1824 in Rio de Janeiro ; † August 21, 1878 ibid) was a Brazilian painter and art college teacher, who was best known for landscape painting and still life of flowers and fruits .

Life

Agostinho da Motta enrolled in 1837 to study painting and drawing at the Academia Imperial de Belas Artes (AIBA), today the Escola Nacional de Belas Artes , in Rio de Janeiro. In 1850 he was able to participate for the first time in the annual exhibitions of the academy, Portuguese: Salão Gerais de Belas Artes, and in 1859 won a gold medal. He also received a Prêmio de Viagem from the Salon in 1850 , the coveted multi-year travel grant for Europe to the art centers of Paris or Rome at the time . In the following year he came to Rome, where he stayed from 1851 to 1855. There he was made by the French painter Jean-Achille Benouville(1815–1891) taught landscape painting, who in turn was influenced by Jean-Baptiste Camille Corot (1796–1875), a major exponent of the Barbizon School . After 1850, plein air painting with subdued colors and free composition had developed into a pure mood painting and opposed the realistic representation of nature to the classic idealistic landscape composition , as it still prevailed in the academic art of the Imperial Academy. These influences brought Motta back to Brazil. Art critics like Gonzaga Duque praise him as the actual early exponent of open-air painting in Brazil, around 30 years before it was made known in Brazil by Georg Grimm and Grupo Grimm .

In 1856 he was one of the co-founders of the private Sociedade Propagadora das Belas Artes (SPBA), the society “Disseminator of the Fine Arts”, which was established under the management and direction of the architecture professor Francisco Joaquim Béthencourt da Silva (1831–1911) “ With the Liceu de Artes e Ofícios do Rio de Janeiro , the Lyceum for Arts and Crafts ( School of Applied Arts ). Motta taught at the Lyceum from 1857 and from 1859 to 1878 drawing and landscape painting at the Imperial Academy. The society and the lyceum were models for similar foundations in the provinces of the German Empire and also created the support for the reforms of education in art, design and handicrafts later initiated by Ruy Barbosa .

In 1858 he created two full-length pictures of the imperial couple Dom Pedro II and Dona Teresa Cristina . The emperor later distinguished him as an officer of the Rose Order . The Empress Teresa Cristina particularly valued his flower pieces, several of which she commissioned.

Students were u. a. Modesto Brocos , Henrique Bernardelli , Pedro Peres and José Maria de Medeiros .

In the last years of his life, his life situation deteriorated, so that he had to keep himself afloat by painting billboards. Ironically, he also drew utility painting as an "academy professor".

Exhibitions

Group exhibitions in the Salão Nacional de Belas Artes of the Academia Imperial de Belas Artes
  • 1859: 13th Exposição Geral de Belas Artes, Rio de Janeiro. gold medal
  • 1860: 14th Exposição Geral de Belas Artes, Rio de Janeiro.
  • 1862: 15th Exposição Geral de Belas Artes, Rio de Janeiro.
  • 1865: 17th Exposição Geral de Belas Artes, Rio de Janeiro.
  • 1868: 20th Exposição Geral de Belas Artes, Rio de Janeiro.
  • 1870: 21st Exposição Geral de Belas Artes, Rio de Janeiro.
Posthumous exhibitions
  • 2010: 6th sp-arte, São Paulo, SP (group exhibition)

Awards

He was awarded the Gold Medal of the Salão in 1859, the Order of the Rose in 1868 and the Order of Christ in 1871.

gallery

Landscapes

  • Vista de Roma (View of Rome), around 1851, 58.2 × 72.6 cm, oil on canvas, Museu Nacional de Belas Artes

  • Paisagem do Rio de Janeiro (Landscape near Rio de Janeiro), 78.5 × 130 cm, oil on canvas

  • Vista do Rio de Janeiro (View of Rio de Janeiro), oil on canvas

  • A fábrica do Barão de Capanema (Baron Capanema's factory), around 1862, 34 × 51 cm, oil on cardboard, Museu Nacional de Belas Artes

  • Palácio Imperial de Petrópolis (Imperial Palace in Petrópolis), around 1855, 78.6 × 109.2 cm, oil on canvas, Pinacoteca do Estado de São Paulo

Flower pieces

  • Orchids , 1876, Museu Nacional de Belas Artes

  • Natureza-morta com flores (Still life with flowers), around 1873, 53.8 × 67 cm, oil on canvas, Pinacoteca do Estado de São Paulo

Still life

  • Mamão e melancia (Papaya and Watermelon), 1860, 53.4 × 65 cm, oil on canvas, Museu Nacional de Belas Artes

  • Fruto-do-conde (cinnamon apple), oil on canvas, Pinacoteca do Estado de São Paulo

  • Natureza-morta com frutas (Still life with fruits), ca.1873 , 53.8 × 67 cm, oil on canvas, Pinacoteca do Estado de São Paulo

literature

  • Arte no Brasil. Prefácio Pietro Maria Bardi; introdução Pedro Manuel. Abril Cultural, São Paulo 1979.
  • Walmir Ayala (Ed.): Dicionário brasileiro de artistas plásticos. MEC / INL, Brasília 1977. Volume 3: M a P.
  • Paulo Berger (Ed.): Pinturas e pintores do Rio antigo. Apresentação Sérgio Sahione Fadel; comentário Paulo Berger; Herculano Gomes Mathias; Donato Mello Júnior. Kosmos, Rio de Janeiro 1990.
  • Theodoro Braga : Artistas pintores no Brasil. São Paulo Editora, São Paulo 1942.
  • Quirino Campofiorito: História da pintura brasileira no século XIX. Prefácio Carlos Roberto Maciel Levy. Pinacoteca, Rio de Janeiro 1983.
  • Constantino Cury: Dicionário de artistas plásticos brasileiros. Cury Arte Brasil, São Paulo 2005, p. 9.
  • Laudelino Freire : To século de pintura. Apontamentos para a história da pintura no Brasil de 1816-1916. Fontana, Rio de Janeiro 1983.
  • José Roberto Teixeira Leite: Dicionário crítico da pintura no Brasil. Artlivre, Rio de Janeiro 1988.
  • Carlos Martins (Ed.): Revelando um acervo. Coleção brasiliana. Text by Carlos Martins, Valéria Piccoli. AT Comunicação, São Paulo 2000.
  • Mostra do redescobrimento, 2000, São Paulo, SP. Arte do século XIX. Curadoria geral Nelson Aguilar; curadoria Luciano Migliaccio, Pedro Martins Caldas Xexéo; tradução Roberta Barni, Christopher Ainsbury, John Norman. Fundação Bienal de São Paulo, Associação Brasil 500 anos Artes Visuais, São Paulo 2000.
  • Roberto Pontual: Dicionário das artes plásticas no Brasil. Texto Mário Barata, Lourival Gomes Machado, Carlos Cavalcanti et al. Civilização Brasileira, Rio de Janeiro 1969, pp. 373-374.
  • José Maria dos Reis Júnior: História da pintura no Brasil. Prefácio Oswaldo Teixeira. Leia, São Paulo 1944.
  • Walter Zanini (Ed.): História geral da arte no Brasil. Pesquisa Cacilda Teixeira da Costa, Marília Saboya de Albuquerque. Fundação Djalma Guimarães, Instituto Walther Moreira Salles, São Paulo 1983.

Web links

Commons : Agostinho José da Mota  - collection of images

Individual evidence

  1. ↑ 13. Exposição Geral de Belas Artes , Itaú [accessed on July 21, 2016].
  2. ↑ 14. Exposição Geral de Belas Artes , Itaú [accessed on July 21, 2016].
  3. ↑ 15. Exposição Geral de Belas Artes , Itaú [accessed on July 21, 2016].
  4. ↑ 17. Exposição Geral de Belas Artes , Itaú [accessed on July 21, 2016].
  5. ↑ 20. Exposição Geral de Belas Artes , Itaú [accessed on July 21, 2016].
  6. ↑ 21. Exposição Geral de Belas Artes , Itaú [accessed on July 21, 2016].
personal data
SURNAME Mota, Agostinho José da
ALTERNATIVE NAMES Motta, Agostinho there; Motta, Agostinho José da; Motta, A.
BRIEF DESCRIPTION Brazilian painter and art college teacher
DATE OF BIRTH June 18, 1824
PLACE OF BIRTH Rio de Janeiro
DATE OF DEATH August 21, 1878
Place of death Rio de Janeiro