BRAZILIAN LANDSCAPE PANORAMAS SHOWS 19TH-CENTURY BRAZIL
Period: From April 1 to June 17, 2012.
Times: Tuesday to Friday from 10 am to 8 pm.
Saturdays, Sundays and holidays from 1 pm to 5 pm.
(Closed Mondays, holidays included)
(Opening hours for the exhibition from April 5 – 8 will be 1 pm to 5 pm)
Venue: Museu de Arte Brasileira (MAB-FAAP)
Address: Rua Alagoas, 903 – Higienópolis
Telephone: (11) 3662-7198
Admission free of charge.
Spaces and Structures
For the exhibition, the organizers prepared a scenic reconstruction of one of the rotundas that were major attractions for the larger European cities in the late-18th and early-19th centuries. Rotundas were cylinder-shaped buildings erected especially to hold large panoramas. This exhibition includes a view of Rio de Janeiro, shown in Paris in 1824. The image, which measures 11 meters at the perimeter of its circular structure, was the first representation of Brazil in Europe.
There is also a room equipped with five projectors and a semicircular screen 3 meters height 20 meters length to project a sequence of panoramas of Brazilian cities depicted in photographs and prints. The idea is to enable visitors to experience the same sensations as those who frequented these urban entertainments that preceded the cinema.
Another room looks at the history of crafts related to capturing and reproducing the image, to display and describe materials and techniques used in 19th century iconography and photography: lithographic stones, darkrooms (replicas of early equipment from the 16th and 17th used by artists in the period before the invention of photography), cameras, lenses and equipment that belonged to photographer Marc Ferrez, among other items.
Printing techniques, together with photography, led to the development of procedures for reproducing image by photomechanical means, which would further facilitate their multiplication. Together with this growth in communication through the circulation of images on multiple supports, the panoramic format was established during the 19th century as one of the main forms of iconographic representation.
This exhibition is based on a selection of works from the IMS collection and has been possible by the recent incorporation of the Martha and Eric Stickel Iconography Collection. This has been a significant contribution to the permanent collection. Together with the existing collection of nineteenth-century photography at the Institute in particular the Gilberto Ferrez Collection, this exhibition points to many of the procedures and attitudes that shaped representation of Brazilian landscapes, also contributing to the formation of Brazil's image during the 19th century and its subsequent dissemination abroad.
Gallery
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Panorama de Salvador
c. 1860
Benjamin R. Mulock/Acervo Instituto Moreira Salles
À esquerda da imagem, a ladeira do Meio (hoje rua José Bonifácio), e,
à direita, a de São Francisco, São Paulo, São Paulo, c. 1862
Militão Augusto Azevedo/ Acervo Instituto Moreira Salles
Largo do Bixiga, atual praça da Bandeira, São Paulo, c. 1862
Militão Augusto Azevedo/ Acervo Instituto Moreira Salles
Entrada da baía, Rio de Janeiro
c. 1880
Marc Ferrez/Coleção Gilberto Ferrez/Acervo Instituto Moreira Salles
Jardim da Glória, com a avenida Beira Mar à esquerda, e entrada da barra, Rio de Janeiro
c. 1906
Marc Ferrez/Coleção Gilberto Ferrez/Acervo Instituto Moreira Salles
Vista da estação da Luz, São Paulo, c. 1895
Marc Ferrez/ Acervo Instituto Moreira Salles
Entrada da baía de Guanabara, Niterói, RJ
c. 1885
Marc Ferrez/Coleção Gilberto Ferrez/Acervo Instituto Moreira Salles
Praia de Botafogo, Rio de Janeiro
c. 1893
Marc Ferrez/Coleção Gilberto Ferrez/Acervo Instituto Moreira Salles
Vista de Botafogo, Rio de Janeiro
c. 1875
Marc Ferrez/Coleção Gilberto Ferrez/Acervo Instituto Moreira Salles
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Panorama da cidade de São Paulo: ruas Maria Antônia e Major Sertório, com avenida Higienópolis,
c. 1911
Guilherme Gaensly/ Acervo Instituto Moreira Salles
Panorama da Gamboa, Rio de Janeiro
c. 1865
Georges Leuzinger/Acervo Instituto Moreira Salles
Rua do Ouvidor e ladeira do Meio, em direção ao vale do Anhangabaú (descida do Cubatão), São Paulo,
c. 1862
Militão Augusto Azevedo/ Acervo Instituto Moreira Salles
Vista da cidade a partir do caminho da Tabatinguera, São Paulo
c. 1862
Militão Augusto de Azevedo/Acervo Instituto Moreira Salles
Vista da cidade a partir do caminho da Tabatinguera, São Paulo,
c. 1862
Militão Augusto Azevedo/ Acervo Instituto Moreira Salles
Ladeira de Santo Antônio, hoje rua Dr. Falcão Filho,
vendo‐se a igreja de Santo Antônio, localizada na atual praça do Patriarca, São Paulo, c. 1862
Militão Augusto Azevedo/ Acervo Instituto Moreira Salles
Largo do Capim, em frente à igreja de São Francisco, São Paulo,
c. 1862
Militão Augusto Azevedo/ Acervo Instituto Moreira Salles
Hotel Palm, São Paulo,
c. 1862
Militão Augusto Azevedo/ Acervo Instituto Moreira Salles
Rua do Ouvidor, atual José Bonifácio; ao fundo, a torre da antiga Sé, São Paulo,
c. 1862
Militão Augusto Azevedo/ Acervo Instituto Moreira Salles
Vista a partir da estrada para o Rio
c. 1825‐1826
William John Burchell/Acervo Instituto Moreira Salles
São Paulo a partir da estrada para o Rio
c. 1825‐1826
William John Burchell/Acervo Instituto Moreira Salles
São Paulo a partir da estrada para Santos
c. 1825‐1826
William John Burchell/Acervo Instituto Moreira Salles
A Glória, Rio de Janeiro
c. 1861
Victor Frond/Acervo Instituto Moreira Salles
Praia de Botafogo e Corcovado, Rio de Janeiro
Sem data
George Huebner e Libanio Amaral/Acervo Instituto Moreira Salles
Botafogo e Ministério da Agricultura, atual Museu de Ciências da Terra, Rio de Janeiro
Sem data
George Huebner e Libanio Amaral/Acervo Instituto Moreira Salles
Panorama do Rio de Janeiro (tomado do Morro do Castelo)
1821‐1836
Félix Émile Taunay/Acervo Instituto Moreira Salles
Rio de Janeiro da ilha das Cobras
c. 1852
Desconhecido (a partir de daguerreótipo) e Alfred Martinet/Acervo Instituto Moreira Salles
Vista do Rio de Janeiro
c. 1883
Enrique Casanova (a partir de Georges Leuzinger)/Acervo Instituto Moreira Salles
Nossa Senhora da Glória, Rio de Janeiro
c. 1852
J. Schütz/Acervo Instituto Moreira Salles
A Glória, Rio de Janeiro
c. 1861
Victor Frond/Acervo Instituto Moreira Salles
2º Projeto do aterro da rua Direita ao morro do Chá, 1879
Jules MARTIN (1832‐c. 1907)
Litografia a sépia sobre papel
Rio de Janeiro
c. 1892
Karl Oenike/Acervo Instituto Moreira Salles
Show
On April 1, FAAP and Instituto Moreira Salles (IMS) are opening the "Panoramas: Brazilian landscape in the Instituto Moreira Salles Collection" exhibition, featuring 280 works including photographs, drawings and prints produced from 1820 to 1920.
IMS curators Carlos Martins (Brazilian iconography consultant), Sergio Burgi (Photography coordinator) and Julia Kovensky (iconography coordinator) note that the exhibition brings together iconographic and photographic collections held by Instituto Moreira Salles in order to highlight procedures that shaped representation of Brazilian landscape in the course of the 19th century.
Visitor will be able to appreciate prints, drawings and lithographs by traveler-artists such as the Germans Johann Moritz Rugendas and Carl Friedrich von Martius, the Englishman Charles Landseer, and other artists who worked in Brazil." Eager to record everything they saw, these artists left a great legacy on paper: naturalistic sketches, preparatory studies, watercolors and prints, which were reproduced on a large scale to illustrated souvenir albums and travel books," Carlos Martins explains.
Also shown are works by renowned photographers who settled in Brazil, such as Augusto Stahl, Victor Frond, Militão Augusto Azevedo, Georges Leuzinger, or Marc Ferrez. "These photographers specialized in recording the urban and natural landscape and left a fine legacy to Brazilian history and memory," adds Sergio Burgi.
Images in the exhibition depict Rio de Janeiro, then the capital city of Brazil, and the former colonial and coffee-growing regions from the 19th century such as São Paulo, Salvador, Recife, Olinda, Santos, Mariana and Ouro Preto. In addition, the exhibition contains panoramas recording vegetation, rocks, rivers and mountain ranges as the subjects most appreciated by travelers and naturalists, as well as photographic records produced by Marc Ferrez and others for the Imperial Geographic and Geological Commission, or work by Georges Leuzinger for the naturalist Louis Agassiz.
MAB-FAAP's director Maria Izabel Branco Ribeiro explains that the curators have included views of Sao Paulo from other periods for the São Paulo version of the exhibition, which was at Instituto Moreira Salles in Rio de Janeiro in 2011."This will enable visitors to compare the scenes with their own points of reference and make the visit a meaningful experience," she adds.
Researcher and photography critic, Professor. Rubens Fernandes Junior, director of FAAP's School of Communication and Marketing, notes that the exhibition highlights the imagetic artifice that impressed visualities in the second half of the 19th and mid-20th centuries.
"Due to technological innovations introduced by the development of science, people were able to enjoy an immersive experience in depth for the first time. The panoramic view provides a context that we do routinely perceive in a wide view. With panoramic photographs and specific areas designed for their appreciation, the technical image gained a more accurate comprehension of reality, "says Professor Rubens.
Scenographic Space
