Abstract
Mimesis as an epistemological model originated in ancient Greece when artists imitated their masters and followed pre-established models. Humanism, in turn, rescues this model and improves it: just as Vergil imitated Homer, Dante imitated Vergil; if Petrarch sought in the classics the source of inspiration for his poetry, Camões, in turn, makes the sonnets from the Italian as his model, to mention a few examples. However, such a procedure did not represent plagiarism, as it was a way to honor the masters. This model reached its peak in the 17 th century, declining in the following centuries, especially in the 19 th century. However, with its rupture, the representation models permeated Western culture for centuries were lost, leading subjectivity to assume the preponderant role in art. More than a change in the perception of art, there was a change in the world's perception that surrounds humanity, whose significant influence was due to photography.
Highlights
Mimesis as an epistemological model originated in ancient Greece when artists imitated their masters and followed preestablished models
The transposed barrier highlighted in this article is neither in the remote past nor in a close one. It refers to the rupture of mimesis as an epistemological value, whose decline began to be outlined in an incipient way in the 18th century, improved in the 19th century, and became effective in the 20th century
The broader perspective of studies on visibilities, visual culture, and the technological development of new forms of visual representation must be seen in the broader perspective of studies. (SCHØLLHAMMER, 2001, p. 31)
Summary
Breaking barriers: a striking feature of humanity throughout its existence, whether transporting gigantic stones – to build pyramids – or exceeding the speed of sound – in an aircraft. With the breaking of the mimetic domain in art, there is a detachment of the artistic work from the models pre-established by the iconological and emblematic treatises. These were overlooked, resulting in the fact that the 17th-century artistic creation, for example, was considered obscure and full of polluting and unnecessary details. 3), portrayed as a young, beautiful, and sensual woman who, sitting on her legs, poses in an attitude our view, of adoration, of surrender, of prayer Her body’s disposition and gestures would not correspond to the actions listed, according to the iconological models from the 16th to the 18th centuries. The broader perspective of studies on visibilities, visual culture, and the technological development of new forms of visual representation must be seen in the broader perspective of studies. (SCHØLLHAMMER, 2001, p. 31)
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