Les portraits de l'Impératrice. Genre et politique dans la peinture d'histoire du Brésil
In 1922, the one hundredth anniversary of the Independence of Brazil was celebrated. At that moment, history painting in Brazil experienced a late revival, as a number of new productions were ordered in connection with the expected festivities. Amongst those new productions, two very different repre...
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| Formato: | article |
| Lenguaje: | EN FR PT |
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Centre de Recherches sur les Mondes Américains
2014
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| Acceso en línea: | https://doaj.org/article/ba978acff449492a8cd28a4ce4713b50 |
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| Sumario: | In 1922, the one hundredth anniversary of the Independence of Brazil was celebrated. At that moment, history painting in Brazil experienced a late revival, as a number of new productions were ordered in connection with the expected festivities. Amongst those new productions, two very different representations of Princess Leopoldina of Habsburg, the first wife of Pedro de Bragança, Emperor of Brazil between 1822 and 1831, emerged. This article intends to analyze these works, which are now exhibited in national public museums, as the embodiment of different positions on gender, history and power. The first analysis focuses on the work titled Sessão do Conselho de Estado (Session of the Council of State), produced by Georgina de Albuquerque in 1922, which is considered to be the first history painting made by a woman in Brazil. This work contradicts a tradition that had developed since the 1800s in Brazil, in which heroic deeds, or politically significant deeds, were portrayed as a product of masculine subjects. On the other hand, in 1921, the Italian painter Domenico Faillutti produced for the Museu Paulista in São Paulo the painting called Portrait of Dona Leopoldina of Habsburg and her sons, which represents the princess through an absolutely different compositional and thematic context. Whilst the painting by Georgina attributed the Brazilian independence process to the Princess, emphasizing her significant political role, this work emphasizes her maternal and domestic roles as her most important contribution to the formation of the Brazilian nation. This article intends to show that both paintings can be seen as statements of a particular position in the political context of affirmation during the Brazilian First Republic (1889-1930) when contrasted discourses about the place of women in this new political order emerged, picturing active political subjects on the one hand and "virtuous mothers” on the other hand. |
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