PICO DE MARIA COMPRIDA PEINT PAR AGOSTINHO JOSE DA MOTA

AGOSTINHO JOSE DA MOTA (1824-1878)
Pico de Maria Comprida (1,926 m)
Brésil

 In Paisagem do Rio de Janeiro, huile sur toile, 130 x 79cm

 
La montagne
Le Pico da Maria Comprida (1,926m) est connu parmi les grimpeurs brésiliens pour abriter la voie d'escalade Maria Nebulosa , qui fut également la première voie du pays avec plus de 1000 mètres de longueur. Avec la nouvelle zone de protection, les habitants de la région et les alpinistes prévoient d'explorer ces attractions de manière durable et de promouvoir ainsi l'écotourisme et le tourisme rural dans la région.

Le peintre
Agostinho José da Mota était peintre, dessinateur et professeur brésilien. Ainsi, en 1837, il s'inscrit à l'Académie Impériale des Beaux-Arts. Il fut un brillant élève et, pour ses mérites et ses compétences démontrés, il reçut le prix d'un voyage en Europe en 1850. De retour au Brésil, en 1856, il est l'un des fondateurs de la Société de propagation des beaux-arts de Rio de Janeiro. Deux ans plus tard, il peint les portraits du couple impérial - Dom Pedro II (1825 - 1891) et Dona Teresa Cristina (1822 - 1889). La majeure partie de la production artistique d'Agostinho de Motta est constituée de paysages et de natures mortes. Sa représentation du paysage brésilien est parmi les meilleures qui impriment les valeurs et les normes de l'Académie Impériale des Beaux-Arts (AIBA), dans laquelle il a étudié et a ensuite été professeur, tant dans la formation de l'idée d'image nationale que comme dans la formation de l’image de l’empire. Agostinho Mota l'a fait pour ses œuvres artistiques, comme le portrait du couple impérial et les archives de la scène de l'époque.Les paysages d'Agostinho Motta sont les œuvres les plus célèbres de l'artiste. Ils se distinguent par la précision topographique, par le registre exact des dimensions des scénarios et par la compétence avec laquelle ils capturent les transpositions entre les différentes couleurs qui constituent ses extérieurs travaillés. Les scénarios choisis par l'artiste démontrent la dimension marquée de l'identité nationale qu'Agostinho Mota entendait représenter dans ses peintures, comme le Paysage de Rio de Janeiro, ci dessus influencé par les canons de l'AIBA.

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2011-2024 - Gravir les montagnes en peinture
Un blog de Francis Rousseau  

 

PAO DA AÇUCAR BY AGOSTINHO JOSE DA MOTA

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 

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 

SERRA DE ORGAOS BY AGOSTINHO JOSE DA MOTA

AGOSTINHO JOSE DA MOTA (1824-1878)

Serra dos Orgaos: 

Pedra do Sino (2,263m- 7,425 ft)

Dedo de Deus (1,682m - 5,551ft) 

Escalavrado  (1,490m -4,890 ft) 

Brazil

 In Palácio Imperial de Petrópolis, 1855, oil on canvas, Pinacoteca si Estado de Sao Paulo

The mountains 

Pedra do Sino (Bell Rock) at 2,263 metres (7,425 ft),  Dedo de Deus (God's finger) at 1,682m (5,551ft) and  Escalavrado at 1,692 m (5,551 ft) are the highest  peaks int the Serra dos Órgãos  (Organ Range), a mountain range located in the state of Rio de Janeiro, Brazil and containing the Serra dos Órgãos National Park. The peaks with steep rock walls are dramatic features that can be seen on a clear day from Rio de Janeiro, which is 50 kilometres (31 mi) distant. The Serra dos Órgãos cover san area of 20,024 hectares (49,480 acres). The range is an escarpment on the northern edge of the Guanabara Graben between the cities of Petropolis and Teresopolis. The name comes from perceived resemblance of the vertical rock formations created by erosion to the tubes of organs.

A north west fracture is exposed at the plateau's rock surfaces, which defines the direction of the ridges and valleys along the escarpment. One of these ridges contains several granite peaks including God's Finger. Formation of the rocks may have occurred around 620 million years ago. North east vertical fractures, spaced regularly about every 500 m (1,600 ft), cut the north west structures at right angles. Erosion along these fractures has isolated the massive rock blocks. The valleys have well-preserved deposits of debris that has fallen from the rock walls. In November 1981 a period of intense rain triggered hundreds of shallow landslides and flows of debris that blocked the BR-116 highway and killed about 20 people.

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.