Abstract
^This article approachs the difference of languages between two kinds of painting of Victor Meirelles, a Primeira Missa no Brasil in 1860 and Panorama do Descobrimento do Brasil exposed in 1900. The Panoramas was paintings exposed at especial architecture called rotundas and they had they peak in 19th century. While the Panorama seems no limits at horizontal circularity, at traditional painting the space is delimited by the edge of frame. In the case of Primeira Missa no Brasil beside some reproductions put in evidence just the detail of central scene.
Highlights
This article approachs the difference of languages between two kinds of painting of Victor Meirelles, a Primeira Missa no Brasil in 1860 and Panorama do Descobrimento do Brasil exposed in 1900
The Panoramas was paintings exposed at especial architecture called rotundas and they had they peak in 19th century
While the Panorama seems no limits at horizontal circularity, at traditional painting the space is delimited by the edge of frame
Summary
This article approachs the difference of languages between two kinds of painting of Victor Meirelles, a Primeira Missa no Brasil in 1860 and Panorama do Descobrimento do Brasil exposed in 1900. Este artigo aborda as diferenças de linguagens entre duas formas de pintura executadas por Victor Meirelles, a Primeira Missa no Brasil em 1860 e o Panorama do Descobrimento do Brasil exposto em 1900.
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