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Master's Dissertation
DOI
10.11606/D.93.2016.tde-14102016-140347
Document
Author
Full name
Ronaldo Calixto
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2016
Supervisor
Committee
Ajzenberg, Elza Maria (President)
Aranha, Carmen Sylvia Guimaraes
Barbosa, Paulo Roberto Amaral
Galvão, Walter Jose Ferreira
Title in Portuguese
Max Bill e a "Unidade Tripartida
Keywords in Portuguese
Arte concreta
Arte moderna
Max Bill
Unidade Tripartida
Abstract in Portuguese
Esta pesquisa trata do artista suíço Max Bill e sua obra Unidade Tripartida, ganhadora do prêmio de escultura na Primeira Bienal de São Paulo, em 1951. Analisa arquivos referentes a curadorias de exposições em museus, aliados a informações sobre o percurso nacional e internacional da escultura tridimensional Unidade Tripartida e do artista Max Bill. Sua trajetória, desde o entendimento de sua produção até a sua formação, com participação na escola Bauhaus e a formação da Escola de Ulm, em que desenvolveu a teoria que sustentou a arte concreta, abrange diversas áreas do conhecimento artístico no decorrer das décadas de quarenta e cinquenta do século XX. O estudo aponta, também, as influências das ideias de Bill na produção concreta e neoconcreta de artistas brasileiros.
Title in English
Max Bill and the Tripartite Unity
Keywords in English
Concrete art
Max Bill
Modern art
Tripartite Unity
Abstract in English
The following essay is about the Swiss artist Max Bill and his work Tripartite Unity (Unidade Tripartida), winner of the Sculpture Prize at the First Biennial of São Paulo, in 1951. Analyzes files relating to curtained exhibitions in museums, within information about national and international course of the three-dimensional sculpture Tripartite Unity and about the artist Max Bill. Its history, from the understanding of its production to its formation, with participation at the Bauhaus school and the formation of the School of Ulm, in which he developed the theory that supports the concrete art, covers several areas of artistic knowledge during the forties and fifties. The thesis also indicates the influence of Bills ideas in concrete, neo-concrete production on Brazilian artists.
 
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Publishing Date
2016-10-14
 
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