Picturesque movement1/10/2023 ![]() The Bavarian artist was born in 1802 in Augsburg, into a family of long artistic tradition and was brought up in the context of art academies, where the postulates of aesthetic ideas were discussed and put into practice. When it comes to the observation of the young Latin American countries during the first half of the nineteenth century this man may well be a paradigmatic figure. The intention here is to bring to mind the essential outlines of this category, its initial meaning and acceptations incorporated along the years, with the aim of examining its sense in the particular case of Johann Moritz Rugendas and his work. In fact, there is a series of outstanding studies on this matter 1. This essay does not intend to carry out a theoretical analysis of the aesthetic ideas in late eighteenth and early nineteenth centuries. This becomes particularly relevant nowadays as more historical writings are using this type of material, as a source for their research. Therefore, in order to evaluate these sources it is appropriate to inquire into the precise meaning, acceptations and application of this term in travel descriptions. It constitutes an aesthetic category, an instrument meant to apprehend the experiences the traveler lived away from his or her everyday world. However, the term picturesque is not only a common denominator of a certain type of publication. Palabras clave: viajes pintorescos, arte y ciencia, artistas viajeros, Rugendas.ĭuring the nineteenth century many illustration albums referring to voyages made throughout the American continent used the phrase "picturesque travel" in their titles. Se observa que esta categoría estética jugó un papel esencial para vincular el quehacer artístico a los proyectos de reconocimiento científico del continente americano en el curso del siglo XIX. Rugendas, en este artículo se estudian las connotaciones que lo pintoresco adquirió para los artistas viajeros seguidores de la tradición de Alexander von Humboldt. De un significado inicial que aludía a una forma de ver y aprehender la naturaleza siguiendo los cánones de composición de artistas clásicos, pasó a ser utilizado con un sentido considerablemente más amplio, como una forma de percepción y registro de la realidad en todos los ámbitos. Su contenido ha tenido siempre un carácter inestable. La categoría estética de lo pintoresco fue incorporada en el repertorio conceptual de artistas y teóricos del arte hacia las últimas décadas del siglo XVIII. Key words: picturesque, art and science, scientific travelers, J. ![]() Rugendas, it is possible to observe that aesthetic categories played an essential role in linking art work and scientific exploration projects in the American continent during the nineteenth century. This article studies the different connotations that "picturesque" had for travelers that followed the tradition of Alexander von Humboldt. Later, it was used in a more comprehensive sense as a form of perception and recording of reality in different fields. Initially, its meaning alluded to a particular way of seeing and seizing nature, followings classic artists' composition canons. ![]() Its content has always had an unstable character. The aesthetic category of "picturesque" was incorporated in the conceptual repertoire of artists and art theorists during the last decades of the eighteenth century. Translation from Historia (Santiago), Santiago, v.40, n.2, p. Universidade Federal de Mato Grosso, Brazil. Lo pintoresco como categoría estética en el arte de viajeros: apuntes para la obra de Rugendas ![]() The picturesque as an aesthetic category in the art of travelers: notes on J.
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