Sculptural Works Research Articles

Indoor Rock Climbing: The Nuts and Bolts of Routesetting Copyright Protection Post-Star Athletica

Indoor rock climbing is a relatively new sport; as a result, many legal issues as applied to the sport have not yet been explored. Because indoor rock climbing is rapidly increasing in popularity, issues like the copyright of indoor rock climbing routes will become relevant to the industry’s legal landscape. The growth of modern indoor rock climbing gyms has put a spotlight on route-setting. Today, it is clear that one of the main ways an indoor rock climbing gym becomes and remains successful is through innovative and sensitive route-setting that provides customers with new and challenging climbing experiences. Route-setting has become its own art form; the route-setter is the artist, the holds are the paint, the blank slab of wall is the canvas, and the climbing customer is the individual experiencing the route-setter's creation. Despite the fact that indoor rock climbing routes are works of sculptural art, there is no legal scholarship exploring potential copyright protection of these works. As useful articles, indoor rock climbing routes would have to survive a separability analysis to achieve protection for its fixed, artistic elements. However, indoor rock climbing routes currently pass separability analysis under the new standard established by the Supreme Court in Star Athletica, L.L.C. v. Varsity Brands, Inc (“Star Athletica”), allowing the routes themselves to be eligible for copyright protection. This comment presents a framework for analyzing the ability to copyright indoor rock climbing routes in light of recent developments established by Star Athletica and subsequent cases. Indoor rock climbing routes are eligible for copyright protection as artistic sculptural works. Section II discusses the history of indoor rock climbing and the development of the modern route-setting profession. Section III advances the framework that proves that indoor rock climbing routes are copyright-able, first by discussing the issue of issue articles and separability, then by examining the new test for separability as set forth in Star Athletica and its progeny. Section IV discusses the details associated with copyright protection for indoor rock climbing routes, comparing and contrasting literal movement with physical aesthetic similarity. Finally, Section V discusses the future of the indoor rock climbing industry, how copyright will co-exist with the development of the sport, and concludes.

THE PHILOSOPHY OF DRAWING

Drawing is a peculiar phenomenon of human civilization. This inexhaustible engine of progress usually seems to us as a kind of study, as a preparation for a painting or a sculptural work. This essay proposes to look at drawing as a graphic reflection of fantasy, project and intention, a reflection of firm knowledge or doubt and skepticism, and, finally, offers to look at drawing as a method of studying life. The article provides a brief overview of the stylistic metamorphoses of European drawing, which occurred naturally or by chance. A person who always draws consciously composes, and his composition involuntarily reflects the scheme of the universe, drawn up in the artist's head based on his or her life experience. Every person has this experience, this worldview, this self-professed philosophy, but only a draftsman can show it. Collecting drawings is the most difficult and most impressive of all types of collecting. A drawing-lover discovers the whole world, the most accurate description of the given period of civilization. Since prehistoric times, civilization has been indebted to drawing. The rock drawing of primitive people reflects their vital desires and beliefs. Afterward, the wheel was designed; the steam engine, electricity, aeronautics were invented, space exploration began... and drawing and drafting accompanied all this. Teaching drawing in schools and universities is teaching the methodology of studying nature. From an early age, a person is taught to draw from life, and this is a visual study of an object. The teacher’s task is to show not only to sketch the visible outlines of an object but also to penetrate its structure, in other words, to prepare to fantasize and invent. Meanwhile, in schools and universities, it has become a custom to draw imitating photography as much as possible. Photography is the most democratic way of depicting; however, it is only a one-time, random image of an event. Drawing, on the other hand, accumulates several things. A metaphor, conclusion, knowledge, or ignorance, the struggle against victories and defeats, doubts, and confidence appear involuntarily in a drawing. Drawing is action, movement of thought, and religious beliefs, whereas photography is stagnant. However, it is precisely this stagnation, rigidity that is cultivated by fashionable modern artists. Moreover, adherents of photorealism develop the ridiculous coincidences so often found in photographs. Sculptors, architects, and jewelers make the most exciting drawings. Sculptors seem to see through an object, like an X-ray. They want to show volume on a plane. Architects imagine the organization of space and the interaction of volumes. All these aspirations, all these fantasies make drawing uniquely expressive and intelligent.

Boundary|Time|Surface: assessing a meeting of art and geology through an ephemeral sculptural work

Abstract. Boundary|Time|Surface was an ephemeral, site-specific sculpture created to draw attention to the construction of social, political, scientific, and aesthetic boundaries that divide the Earth; one such practice is the scientific subdivision of geologic time. The sculpture comprised a 150 m fence along the international stratotype separating Ordovician from Cambrian strata in Gros Morne National Park, Canada. The fence was constructed by hand within 1 d, on a falling tide, from materials found on site, with minimal environmental impact. During the following tidal cycles, it was dismantled by wave and tide action. This cycle of construction and destruction was documented with time-lapse photography and video and brought to the public through exhibitions, public talks, and a book. Exhibitions derived from the documentation of ephemeral works function as translations of the original experience. In this case, they provided opportunities for public interaction with media that served both as aesthetic objects and as sources of information about the site's geological and sociopolitical history. We assess the role of the installation, and its documentation, in drawing public attention to boundaries, and examine responses including attendance records and written visitor comments as indications of the viewers' engagement with the concepts presented. Of several thousand visitors to exhibitions, 418 written comments reflected the viewers' engagement with both the location and the underlying concepts. Both the original installation and the subsequent work allowed audiences to explore human understanding and acquisition of knowledge about the Earth and how world-views inform the process of scientific inquiry.

Brightly Colored to Stay in the Dark. Revealing of the Polychromy of the Lot Sarcophagus in the Catacomb of San Sebastiano in Rome

The Lot Sarcophagus is one of the most relevant funerary sculptures of late antiquity (mid-4th century AC). Some of the remarkable aspects are the following (i) it is still preserved in situ; (ii) most of the carved scenes are rarities or unicum; (iii) not all the sculpture work has been completed, which allows us to analyse the executive process; (iv) many traces of polychromy have remained. This paper is focused on the characterization of the residual polychromy by using in-situ non-invasive techniques. Furthermore, few micro samples were taken, to be analysed in laboratory to study the composition of some deposits and to define if a preparatory layer was present under the coloured layer. The data showed that the very rich polychromy of the Lot Sarcophagus was made of Egyptian blue, yellow ochre, and three different types of red: two inorganics (red ochre and cinnabar), and one organic-based (madder lake). Furthermore, some decorations, completely vanished and no longer visible to the naked eye, have been rediscovered, also providing details on the construction phases. During the project, the 3D model of the sarcophagus was acquired, which afterwards was used to map the results of the diagnostic campaign.

A arte pública entre património e ideário. O itinerário artístico de Siah Armajani

Siah Armajani (1939-) é um escultor de origem iraniana que ainda muito jovem emigrou
 para os EUA, onde empreendeu uma carreira artística, sediada em Minneapolis, no Minnesota.
 Para além de autor de uma vasta e reconhecida obra escultórica, Armajani é também um ensaísta,
 sendo autor do texto “Manifesto public sculpture in the context of american democracy”
 (Armajani, 1995), que acompanhou a exposição “Espaços de Leitura” que apresentou, em 1995,
 no Museu d’Art Contemporani de Barcelona (MACBA). O interesse da obra de Armajani decorre
 da mesma resultar de um inequívoco engagement a um ideário sócio-utópico-artístico que
 problematiza o estatuto do regime autoral, e que rejeita a autorreferencialidade da obra, circunstância
 rara no contexto da produção artística contemporânea. Esteticamente contemporânea, a
 obra de Armajani logra resolver um dos dilemas mais amargos da arte moderna e contemporânea,
 formulado por Arnold Schoenberg: “se é arte, não é para todos, e se é para todos não é arte”
 (Schoenberg, 1950, p. 124). Curiosamente, o ideário veiculado por Armajani não é em absoluto
 inédito. Em múltiplos aspetos o mesmo coincide com o do movimento em prol da arte pública
 que se formou na Bélgica, nos finais do século XIX, e que deu origem à organização de quatro
 congressos internacionais de arte pública, dois deles com participação portuguesa documentada,
 aspeto por onde se inicia o presente estudo.

The contemplative verb in contemporary sculptural work "An analytical study"

The contemplative verb in contemporary sculptural work "An analytical study"

Copyright Protection for Applied Art and Works of Artistic Craftsmanship after Star Athletica

As the very first session proclaimed, the Star Athletica case has not been a model of total clarity on the Supreme Court’s part. I’m going to explore that proposition. I will go through some basic elements of the copyright statute, and will then apply those rules to several examples. The Copyright Act sets out the category of pictorial, graphic, and sculptural (“PGS”) works, whose statutory definition includes applied art. That was the subject matter at issue in Star Athletica. The statute also provides that PGS works “shall include works of artistic craftsmanship insofar as their form but not their mechanical or utilitarian aspects are concerned.” “Works of artistic craftsmanship” has been a somewhat overlooked category, but I think, as a result of Star Athletica and also the pending amendments of the Compendium of U.S. Copyright Office Practices, that this category will receive a lot more attention. It does not, however, necessarily follow that the meaning of that category will be any clearer than the standard for what is a PGS work.

Effect of Sulfuric Acid Patination Treatment on Atmospheric Corrosion of Weathering Steel

The requirements for the formation of a protective patina on conventional weathering steels (WS) are well known in the scientific literature related to civil structures. However, these criteria are not always given due consideration when WS is used in cultural heritage, as in the case of sculptural work. An artificial patina was produced simulating artists’ working procedures using a direct patination technique, applying a solution of 10% H2SO4 on WS specimens. These were exposed for two years in the urban atmosphere of Madrid along with weathering steel specimens without artificial patina, called natural patina. The patinas generated have been analyzed using colorimetry, micro-Raman spectroscopy, scanning electron microscopy (SEM), X-ray diffraction (XRD) and thickness measurements.The artificial patina color formed hardly differs from the color that the natural patina acquires from practically the beginning of its formation in the atmosphere of Madrid. After two years, the atmospheric corrosion rate of patinated WS is lower than 6 µm/year. The sulfuric acid treatment accelerates the protective ability of the patina with respect to the natural patina according to the ratio goethite to lepidocrocite (α/γ). Chromium-rich goethite is located in the inner part of the artificial patina as well as chromium-rich ferrihydrite. Ferrihydrite may act as a precursor of nanophasic goethite.

Alexander Burganov’s Alternative Worlds and Visual Ideograms

Summary: The creative work of famous Russian sculptor Alexander Nikolayevich Burganov in the context of a system of copyright signs and conventional symbols, the artist’s relationship with the world and himself from the standpoint of symbolic valency which combines two forms of sculptural expressiveness – figurative and abstract art, are analyzed in the article. Considering hidden comparisons in Burganov’s work, the author analyzes the mythological and metaphorical thinking of the artist who appeals to invariable ancient images and surreal poetics that ultimately form an organic constellation of images and their harmonious completeness. Alexander Burganov’s sculptures are a productive space for an ambivalent play of many meanings and visual tautologies. The artist’s original reflections involve visual patterns that the sculptor articulates in his works: tradition and antiquity, cultural memory and modern philosophical contexts, semiotics of drapery/folds, a cage as a special sign, a symbol. The sculptor’s image paradigm also develops at the intersection of visual and verbal contexts, although the word as such is absent; however, the narrative discourse is obvious. The use of diverse semantics of sculpture-gestures plays an important role. Alexander Burganov’s sculptures, establishing a movable border between tradition and the historical avant-garde, reduce and reproduce new cultural meanings. Overcoming the boundaries of artistic optics and recreating new polystylism, he models a special lightness of sculpture and mobility of images in his sculptural works. The author draws attention to the sculptor’s ability to combine the most diverse layers of culture thus translating the artist’s original semantics based on allusions and allegories giving the viewer the right to independently navigate through the mazes of visual memory. The author emphasizes that the dialogue between the artist and the audience through symbolically abstract signs begins to model new forms of artistic matter and affect the human ordering of the world. Burganov’s artistic practice recreates the space of another reality – the world behind the looking glass of everyday life. The sculptor’s alchemy is such that the viewer immerses into the space of spiritual worlds, comprehends the sculptural plasticity and its expressiveness using the language of allegories and symbols. The observer establishes the inner essence of things, hidden conceptual impulses, tries to discover the spiritual in the material.

Digitally fabricated aesthetic enhancements and enrichments

In this paper, we explore digitally fabricated aesthetic enhancements and modifications of the body as well as digitally fabricated fauna habitats. We will address how we utilize speculative works through our bio inspired digitally fabricated designs via two of our most recent projects: {skin} D.E.E.P. and in silico et in situ. Through these two projects we explore cultural implications of the intersection of technology and biologically inspired art/design. Technology has provided an ever increasing amount of data which has facilitated the way data can be used in aesthetic explorations. Technology can redefine the human experience by enhancing our senses, experiences, and forms of expression. In our work {skin} D.E.E.P., we explore these ideas via augmentation through wearables and biomimetic expressions on the skin through digitally fabricated prosthetics. {skin} D.E.E.P. employs temporary biomimetic skin patterns via wearable 3D printed exoskeletons. The first series of this work mimics the patterns and textures of animal skin via ephemeral impressions onto human skin. Taking inspiration from shedding snakeskin, we shed the outer layer by removing the 3D printed prosthesis. The epidermis retains the negative imprint of the prosthetic mimicking the look of serpent skin. The dermis reestablishes the smooth form of the human skin as it heals itself within the hour, erasing the ephemeral imprint, symbolically representing rebirth and renewal. Investigating the ephemeral aesthetic of textured patterns on human skin will not by any means provide a solution to an engineering problem, yet acts as a larger philosophical basis to conduct a discussion about the possibilities of blending bio inspired designs. The manifestation of data into physical form occurs via digital fabrication in our most recent series in silico et in situ: fauna habitats in the age of voxels, where we aim to create a new ecosystem for animals and to potentially augment their habitat. The habitats include pollinator waterers, spider habitats (in form of glow up rings) and turtle basking platforms. This project pushes forward with a new piece—the development of a 20-foot avian sculpture that will solely exist to support the habitat of the Chimney Swift species. The Chimney Swift is a near-threatened bird species in the US. in silico et in situ investigates the interplay of art, nature and technology by contextualizing sculptural works and placing these sculptures into nature. The project serves as a breeding ground for a larger dialogue about nature, culture, human intervention, design art and technology. Providing the artwork in the public sphere, barrier free in nature, fosters this discourse.

İLAHİ KOMEDYAYI HEYKELİN DİLİNDEN OKUMAK

Efforts to bring art disciplines closer to each other may, from time to time, minimize the differences between them and suggest a common purpose identity, while paving the way for the emergence of works that hybridize in sensory and emotional contexts, in which words, colors, light, shadow and forms are fused in context. While this ambiguous and transdisciplinary approach is encountered almost every period in the historical flow of art, the words of the ancient Greek poet Simonides, painting is a silent poem and poetry is a talking painting art, is a reference to transcend the borders and creating new relationship planes, a result of the nature of art that opens the door to plural is reflex. The purpose of this research is to reveal new readings produced by the dialogue between art and literature, and to examine the formulations of convergence between literary phenomena and plastic arts, through selected sculptural works of Dante Alighieri, in which one of the world's most famous epic poems, called Divine Comedy, was used as a theoretical background. When the ontological creation process, which art tries to carry out through traditional methods, is synthesized with another practice when it limits the possibilities of expression, it can transform the work created into a cumulative structure, and trigger the expansion of the field of meaning by piling up the generated idea and information.

Sənətşünas Ziyadxan Əliyev tədqiqatlarında Səttar Bəhlulzadə fenomeni

The history of the development of fine arts in Azerbaijan has always been followed by art critics. The emergence of new scientific works enriches our art history. The phenomenon of Sattar Bahlulzade occupies an important place in the work of art critic Ziyadkhan Aliyev. Sattar Bahlulzade became famous as the author of lyrical works. His interesting works enrich our history of fine arts. Art critic Ziyadkhan Aliyev carefully analyzed and studied the peculiarities of the artist's work in his works. This article is based on the articles of the art critic on the artist's work and is presented as the main object. Sattar Bahlulzade's work is a phenomenon for Azerbaijani fine arts. The personal style and creativity of the genius artist are revealed in the interesting scientific works of the art critic. Professor Ziyadkhan Aliyev's close relations with the artist prove that he is more deeply acquainted with his work. The article also provides an interesting history and accurate analysis of interesting sculptural works by Omar Eldarov and Fuad Abdurrahmanov, dedicated to Sattar Bahlulzade. The phenomenon of Sattar Bahlulzadeh, which occupies an important place in the work of Ziyadkhan Aliyev, was given accurate and precise information to the audience in his interesting scientific works.

Berrocal y la estética transhumanista

La obra de Miguel Berrocal siempre es referida y recordada como un ejemplo de “arte matemático”, un adjetivo que tiene su sentido por ser de los artistas que aúnan en su obra escultórica la ingeniería y el arte. Para algunos, sus obras recuerdan al trabajo de un joyero o un relojero, un artesano que ha superado la línea que fue dibujada en el siglo XVIII y se ha convertido en artista. Hay, sin embargo, en sus métodos y su temática unas constantes que están siendo obviadas, que pasan normalmente desapercibidas, y que nos permiten encuadrar la obra de Berrocal en otro horizonte: el transhumanismo. En este artículo examinaremos los planteamientos filosóficos y estéticos claves del arte transhumanista y de la obra de Berrocal, en busca de una correlación que nos permita proponer una relectura de su obra y actualizar su posición en nuestra cultura artística y estética.

The image of Soares dos Reis’ sculpture in Art Hitory, Art Criticism and Literature: epochs, models and representations

A hundred thirty years after his dramatic death, António Soares dos Reis (ASR) remains a huge challenge for art history understanding and art criticism interpretation, since he has been seen simultaneously as “a Greek, […] a realist, […] a classical, […] and a naturalist” (Arroyo, 1899: 78). His major sculpture – O Desterrado – being “an existential work” (França, 1966: 454) escapes from the classic orthodox aesthetic analysis, standing apart from the typical sculptural work of late 19th century. Our hypothesis is that ASR art works like a Rorschach test, for the narratives referred to it, instead of unveiling its character, reveal the concepts and beliefs upon which successive art studies have been produced. No visual images are displayed in this text, since the aim of our study is to detect the mental images associated to the insights and models that art historians and other authors traditionally used to assess ASR’s artistic work.

SPECIFIC FEATURES OF LANDSCAPE SCULPTURE PARKS OF UKRAINE IN VARIOUS SYMPOSIUM MODELS

The precedent of the Kaniv All­Ukraine Symposium “Shevchenkivsky Park” in 2007 laid the foundation for the formation of a new model of the state symposium of national importance. This in conjunction with the municipal symposia subsequently stimulated the introduction of a private model. The objectives of the research, was through an art­study and comparative analysis; taking a representative sample of sculptural ensembles of state and private symposia to determine their specificity, common features and perspectives.As a result of the study, it is acknowledged that neither state nor private symposium models are benchmarked, since they can`t avoid of unsuccessful works of art in terms of their technical performance; or from the point of view of conformity of their concept; nor can they prevent from making mistakes during installation of a sculptural ensemble. Similarly the state format has the potential for development, under the condition of proper financing and balanced cultural policy of the state and local authorities. The general discrepancies between state and private symposia consists of concepts and exposition principles of symposium sculpture parks. Additionally in case of private sculptural symposia, private or public space is exempted from the integral information mission and gives a chance to use this place for rest and contemplation. This explains the greater percentage of abstract sculptural works in the Kaniv symposia. State symposia raise questions of the ethno­national and cultural identity of Ukrainians, dealing with certain "memory places", therefore, they are called to create interpretive works of art; that mentally and spiritually integrate the recipient into the history of a particular environment.So, in both models; the clear formulation of the communicative task and the definition of the exhibition strategy of various spaces are implied. This is illustrated by the nearby Kaniv parks of symposium sculptures — “Knya­ zhaya Hora” and “Shevchenkivsky Park”.

The Humanistic Spirit in Sculptor’s Work (on the Example of Li Xiangqun’s work)

Li Xiangqun, the famous Chinese sculptor, managed to evolve his creative style developing a confident and fine ability to create forms, a special and distinctive perspective on reality, skillfully mastering the refined expressive language of sculpture and creating sculptural works filled with spiritual value, the spirit of the times and a sense of humanism. In this paper, the importance of humanistic factors in the fine sculptural art is emphasized by analyzing a part of Li Xiangqun’s works, transferring the experience of understanding the style and power of involvement of Li Xiangqun’s sculpture to the reader, as well as the experience of sensory feelings of humanistic elements in Li Xiangqun’s work. The embodiment of humanistic values in the material form is the spirit and quintessence of figurative sculpture, this is what distinguishes figurative sculpture as a phenomenon from the refined basic image of reality in the form of sculpture. This spirit is the parameter with which it is necessary to correlate the sculptor’s work. The works of Li Xiangqun require the highest attention to ourselves, they are a classic example of the embodiment of the elements of humanism in sculpture. Li Xiangqun has been universally recognized as a leader and devotee of contemporary Chinese fine sculpture; he has made an indisputable contribution to the development of modern Chinese fine sculpture and its humanistic spirit.

Dance in Sculpture of the Early 20th Century

This article is concerned with the ratio of plastic arts as exemplified by sculptural works depicting dances of the early 20th century. Special attention is paid to the Greek motives in the Russian art of this period, which became the subject of inexhaustible aesthetic and artistic interest. The representation of ancient dance motifs, their figurative image and the nature of antiquity in sculptural plastics, various approaches to the interpretation of ancient plots and themes, the role and significance of the “antique” component in their artistic structure are considered in the article. The study of multi‐level interactions between sculpture and dance in the context of antiquity calls for a comprehensive approach, including historical‐cultural, theoretical‐analytical and comparative‐typological methods. Relating to ancient Greek images, ballet images of S. Konenkov, M. Ryndzyunskaya, N. Andreev, V. Vatagin, V. Beklimishev and S. Erzya provide a purely individual, unique and peculiar vision of dance corresponding to the ancient era. The categories and expressive means of dance were simultaneously analyzed close to the sculptural style of the masters because they are difficult to be divided methodologically and exist as an established artistic system. The concepts of “plastic expressiveness” in relation to the dancers imprinted in sculptures were interpreted. Analyzing the museum materials and sculptures depicting the dancing process, it was concluded that the ancient influence of plastic images on structural and genre determinants may vary.

The Drama of Ekphrastic Affect: Sculpture in Evliyâ Çelebi’s The Book of Travels

Abstract Ekphrasis or rendering a visual object in writing, a form of ancient Greek and Roman rhetoric, has been recognized as a literary device since the description of Achilles’s shield in Homer’s Iliad. This article will examine Evliyâ Çelebi’s ekphrastic rendering of certain works of sculpture in Seyahatnâme (The Book of Travels) and demonstrate the working of culture, creed, and aesthetic taste in the ekphrastic narrativity of foreign works of art. As ekphrasis is affect par excellence, the argument of this paper rests on the possibility of normative and cultural control of affect, contrary to the concept of affect that exclusively refers to the neurosciences of subliminal response and emotion or to the idea that affect is simply the sum total of corporeal responses to physical stimuli. As I try to demonstrate through a close reading of Çelebi’s ekphrastic passages on sculpture in his Seyahatnâme, ekphrastic writing can rest on both aspects of affect: its subliminal as well as intentional states.

The Semiotics of Cyberculture: the Example of Artistic Discourse

In this text the author reflects on the semiotic existence of culture discourses in connection with the rapid development of digital technology. The author analyzes selected texts of digital art as examples of the transformation in how works of literature, sculpture, or film exist. The article covers how movable font, which changes in shape and color, participates in shaping literary meanings; the creation of semiotic and interactive figures; the textualization of the user’s actions and body; dematerialization; processuality; narrativization; the temporalizing of sculpture, which changes before the eyes of the recipient; the presence of alternative narratives in literature and film; multi-variant plots co-created by the recipient; and the artistic use of other discourses. The author proves that the structure and specificity of the digital sign lies at the base of the changes. The digital sign is immaterial, programmable, and hybrid, and combines aspects of expression, meaning, and action, which makes it efficient.

A América como consagração

Ettore Ximenes (Palermo, 1855/Roma, 1926) foi um escultor italiano de grande notoriedade internacional nas primeiras décadas do século XX. Autor do Monumento à Independência do Brasil, situado em São Paulo, sua maior obra escultórica, Ximenes construiu uma trajetória de grande relevo na América, desde que ganhou o concurso para o Monumento ao General Belgrano, em Buenos Aires, em 1898. Nos Estados Unidos, Ximenes realizou esculturas em homenagem a italianos célebres, como os monumentos a Giovanni da Verrazzano e a Dante Alighieri, encomendados por Carlo Barsotti, editor do jornal Il Progresso Italo Americano, na cidade de Nova York. Este artigo reconstitui o processo de encomenda destas duas obras e evidencia a relevância dos monumentos para os seus promotores e para a projeção da carreira de Ximenes, de modo a perceber como as ações de valorização da identidade italiana foram centrais na consagração do artista naquele país, ao mesmo tempo em que enalteciam a comunidade imigrante italiana e um de seus mais destacados líderes políticos.