Imagens do camponês na pintura brasileira: o sertanejo de Carlos Chambelland

Arthur Valle

doi:10.5007/2175-7976.2008v15n19p77

Abstract

After a season in the State of Pernambuco, the painter and illustrator Carlos Chambelland (1884-1950), judging to have finded the true essence of the Brazilian culture, began to produce a series of pictures that figured the human types of the northeastern hinterland, its ways of life and environment. In the present article, trying to better understand these pictures of Chambelland, we analyze their dialog with the regionalist trends that marked the Brazilian visual arts since the mid-19th century XIX and how they were inserted in the debates concerning the Brazilian cultural identity, one of the prominent concerns in the intellectual circles of the so-called First Republic.

Highlights

After a season in the State of Pernambuco, the painter and illustrator Carlos Chambelland (1884-1950), judging to have finded the true essence of the Brazilian culture, began to produce a series of pictures that figured the human types of the northeastern hinterland, its ways of life and environment
In the present article, trying to better understand these pictures of Chambelland, we analyze their dialog with the regionalist trends that marked the Brazilian visual arts since the mid-19th century XIX and how they were inserted in the debates concerning the Brazilian cultural identity, one of the prominent concerns in the intellectual circles of the so-called First Republic
Nessa obra relativamente precoce – Carlos Chambelland tinha apenas vinte e três anos quando a realizou -, pode-se perceber o interesse pelos personagens populares que, por sua condição social, são em tudo intercambiáveis com os sertanejos que o pintor posteriormente elegeria como motivos

Summary

Introduction

After a season in the State of Pernambuco, the painter and illustrator Carlos Chambelland (1884-1950), judging to have finded the true essence of the Brazilian culture, began to produce a series of pictures that figured the human types of the northeastern hinterland, its ways of life and environment. Procurando compreender melhor esses quadros ‘sertanejos’ de Chambelland, analisamos como eles dialogaram com as tendências regionalistas que marcaram as artes plásticas brasileiras desde meados do século XIX e se inseriram no debate mais amplo a respeito da identidade cultural brasileira, uma das preocupações proeminentes nos círculos intelectuais da Primeira República.

Results

Conclusion