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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Autor principal:	Ana Paula Cavalcanti Simioni
Formato:	article
Lenguaje:	EN FR PT
Publicado:	Centre de Recherches sur les Mondes Américains 2014
Materias:	Historical Painting gender independence of Brazil Georgina de Albuquerque Domenico Failutti Anthropology GN1-890 Latin America. Spanish America F1201-3799
Acceso en línea:	https://doaj.org/article/ba978acff449492a8cd28a4ce4713b50
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id	oai:doaj.org-article:ba978acff449492a8cd28a4ce4713b50
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spelling	oai:doaj.org-article:ba978acff449492a8cd28a4ce4713b502021-12-02T10:31:17ZLes portraits de l'Impératrice. Genre et politique dans la peinture d'histoire du Brésil1626-025210.4000/nuevomundo.66390https://doaj.org/article/ba978acff449492a8cd28a4ce4713b502014-02-01T00:00:00Zhttp://journals.openedition.org/nuevomundo/66390https://doaj.org/toc/1626-0252In 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.Ana Paula Cavalcanti SimioniCentre de Recherches sur les Mondes AméricainsarticleHistorical Paintinggenderindependence of BrazilGeorgina de AlbuquerqueDomenico FailuttiAnthropologyGN1-890Latin America. Spanish AmericaF1201-3799ENFRPTNuevo mundo - Mundos Nuevos (2014)
institution	DOAJ
collection	DOAJ
language	EN FR PT
topic	Historical Painting gender independence of Brazil Georgina de Albuquerque Domenico Failutti Anthropology GN1-890 Latin America. Spanish America F1201-3799
spellingShingle	Historical Painting gender independence of Brazil Georgina de Albuquerque Domenico Failutti Anthropology GN1-890 Latin America. Spanish America F1201-3799 Ana Paula Cavalcanti Simioni Les portraits de l'Impératrice. Genre et politique dans la peinture d'histoire du Brésil
description	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.
format	article
author	Ana Paula Cavalcanti Simioni
author_facet	Ana Paula Cavalcanti Simioni
author_sort	Ana Paula Cavalcanti Simioni
title	Les portraits de l'Impératrice. Genre et politique dans la peinture d'histoire du Brésil
title_short	Les portraits de l'Impératrice. Genre et politique dans la peinture d'histoire du Brésil
title_full	Les portraits de l'Impératrice. Genre et politique dans la peinture d'histoire du Brésil
title_fullStr	Les portraits de l'Impératrice. Genre et politique dans la peinture d'histoire du Brésil
title_full_unstemmed	Les portraits de l'Impératrice. Genre et politique dans la peinture d'histoire du Brésil
title_sort	les portraits de l'impératrice. genre et politique dans la peinture d'histoire du brésil
publisher	Centre de Recherches sur les Mondes Américains
publishDate	2014
url	https://doaj.org/article/ba978acff449492a8cd28a4ce4713b50
work_keys_str_mv	AT anapaulacavalcantisimioni lesportraitsdelimperatricegenreetpolitiquedanslapeinturedhistoiredubresil
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Les portraits de l'Impératrice. Genre et politique dans la peinture d'histoire du Brésil

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