REsumo: o presente artigo discute a especificidade da pintura brasileira produzida durante a Primeira república , a qual não pode ser compreendida nem como uma continuidade harmônica em relação à tradição herdada pelo império e nem mediante o rótulo de "pré-moderna". a partir da interpretação de duas telas, Os descobridores, de Belmiro de almeida, e Fundação da cidade de São Paulo, de antônio Parreiras, pretende-se examinar os sentidos políticos e culturais particulares que as obras engendram, os quais emanam dos momentos e condições específicos de sua produção, bem como da relação crítica que possuem para com a tradição acadêmica no país.PAlAvRAs-chAvE: Pintura de história, academismo, Primeira república, Belmiro de almeida, antônio Parreiras. Republic (1889Republic ( -1930
AbstrAct: The present article discusses the specificity of the Brazilian painting produced during the First
The subject of this dissertation is the historical painting of Antônio Parreiras produced during Brazilian's First Republic (1889-1930. It seeks to understand the painter's role in the embryonic art market between the XIX and XX centuries, emphasizing the establishment of relationships between him and the governments. It aims to show how Parreiras was able to stimulate the demand for decorative paintings for the public spaces that were being built or remodeled to meet the needs of the new regime. Furthermore, it discusses how, in his paintings, the ditames of the ordering party were combined with the will of the artist whom, besides fulfilling the contracts, imprinted on the paintings his vision of the national history. Parreiras' historical canvases are important elements in the genesis process of our country's regional identities, throughout the making of republican ideal. This analysis intends to shed light on the part played by Antônio Parreiras in an artistic and intellectual environment marked by instability and hard fought contested symbolic disputes.
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