AGOSTINHO JOSE DA MOTA (1824-1878)
Pao de Açucar / Sugarloaf mountain (396 m - 1,299 ft)
Brazil
In Vista da Gambo no Rio de Janeiro,1852, oil on canvas
In Vista da Gambo no Rio de Janeiro,1852, oil on canvas
The mountain
Pao de Açucar (396 m - 1299ft), Sugarloaf Mountain in english, Pain de Sucre in French, is a isolated peak (Inselberg) situated in Rio de Janeiro, Brazil, at the mouth of Guanabara Bay on a peninsula that sticks out into the Atlantic Ocean. Rising above the harbor, its name is said to refer to its resemblance to the traditional shape of concentrated refined loaf sugar. It is known worldwide for its cableway and panoramic views of the city. The name "Sugarloaf" was coined in the 16th century by the Portuguese during the heyday of sugar cane trade in Brazil. According to historian Vieira Fazenda, blocks of sugar were placed in conical molds made of clay to be transported on ships. The shape given by these molds was similar to the peak, hence the name.
The painter
Agostinho José da Mota was a painter, draftsman and Brazilian professor. Thus, in 1837, enrolled in the Imperial Academy of Fine Arts. He was a brilliant student and for the merits and competence demonstrated, received the prize for a trip to Europe, in 1850. Returning to Brazil, in 1856, he is one of the founders of the Society Propagating Fine Arts of Rio de Janeiro. Two years later, he painted the portraits of the imperial couple - Dom Pedro II (1825 - 1891) and Dona Teresa Cristina (1822 - 1889).
Most of Agostinho de Motta's artistic production consists of landscapes and still lifes. His representation of the Brazilian landscape is among the best that prints the values and standards of the Imperial Academy of Fine Arts (AIBA), in which he studied and later was professor, both in the formation of the idea of a national image, as well as in the formation of the image of the empire. Agostinho Mota did this for his artistic works, such as the portrait of the imperial couple and the records of the scene of the time.
The landscapes of Agostinho Motta are the most famous works of the artist. They stand out for the topographical precision, for the exact register of the dimensions of the scenarios and for the competence with which it captures the transpositions between the various colors that constitute its worked exteriors. The scenarios chosen by the artist demonstrate the marked dimension of the national identity that Agostinho Motta intended to portray in his paintings, as the Landscape of Rio de Janeiro, 1857, influenced by the canons of AIBA.
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2019 - Wandering Vertexes...
by Francis Rousseau