1452:, Consuelo Schlichta considered that, according to the academic perspective, if necessary, the truth would need to be falsified in order to create a convincing and moving impression of truth. According to some reports, emperor Pedro I, who was in the midst of a trip to São Paulo, upon receiving the news that led him to proclaim Brazil's independence, was found suffering pains from a "gastric illness". To make matters worse, he had a donkey for a mount and was accompanied by a handful of soldiers who in all probability wore shabby, smelly uniforms. Naturally, the representation of "truth", in this exemplary case, would have an effect completely opposite to what was intended, which was to enshrine a true founding myth and glorify the "author" of the independent nation. It was necessary, more than evoking history, to invent it, and more than inventing it, to theatricalize it, so that the memory in focus could be influentially crystallized in the people's imagination according to a pre-established program. Thus, Dom Pedro, placed at the center of the entire composition, in the work of Pedro Américo ceases to be a mere mortal and a controversial ruler to become an icon, the savior of the homeland, the perfect hero and leader, riding a dashing horse, in full dress uniform and commanding a battalion of equally shiny and intrepid dragoons, who respond to the memorable cry in a univocal, vigorous and harmonious way and represent, together with some peasants who watch the scene, the entire Brazilian people, strong, loyal and united. Américo himself stated that:
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atmosphere of liberalism and scientism, in which the influence of the Church declined and the secular sectors of society were strengthened. It was in the interest of the nation, as well as the current monarchy, for the country to favorably insert itself into a world economy undergoing rapid transformation and which was structured on a capitalist model. To achieve this goal, emperor Pedro II, a lover of the arts and sciences who in 1856 had written that the two great works he needed to accomplish were "to morally organize the nationality and form an elite", promoted a nationalist program of internal modernization and dissemination of Brazil abroad. Knowing the power of art as a formulator and consecration of symbols and values, within his program Pedro II reserved a special role for it, in charge of visually articulating the ideas of the new Empire. Activities focused on the
Imperial Academy of Fine Arts, founded in 1816 and for many years in precarious operation, but since the 1850s it had been restructured and energized by a more consistent and enlightened state sponsorship and by the work of scholars such as Manuel de Araújo Porto-Alegre. Pedro Américo flourished during the height of Academicism in Brazil. However, despite significant advances in the art system, patronage conditions at the time were unpredictable and the lack of official funding was a chronic problem. As for the private market, it was just beginning to take shape.
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as a model to describe the topography of the scenarios, the individual details and characterizations, the cavalry and war equipment. In fact, there was a lot of popular consumption and easily accessible iconography about soldiers and militias. Américo even carried out field research and requested interviews, documents and photographic portraits of some of the still-living characters who participated in historical events, seeking a realistic pictorial transposition to these elements. Probably his scientific training also inclined him to this – although he himself rejected the label of a realist painter – and by adopting this anti-academic, anti-idealist procedure, he received a partial approval by the critics of the academy, who considered him a renovator of the historical genre in comparison to the more "old-fashioned" and "conservative" Vcitor
Meirelles. He thus placed himself in a sense at the forefront, although in other aspects the premodernists still saw him as a formal scholar. However, Américo proposed reforms in the academic system to accompany the evolution of the times and incorporate the aesthetic diversity that existed in his time in many texts, and even rebelled against the excess of idealism of the more traditional academics and the School of Fine Arts in Paris.
1303:, which was distributed throughout Brazil and also published abroad, placing Américo in the position of heroic founder of the Brazilian school of painting, and which is the primary source of the various biographies that emerged later, almost all of which were also partial and exaggerated in the contemporary perspective, but which reveal the intensity of the enthusiasm that Américo and his work could arouse. In the opinion of Silvano Bezerra da Silva, the different activities he performed, as an artist, essayist, politician, novelist, and others, "in addition to indicating a restless personality, also indicate Pedro Américo's insistence on overcoming the limitations of the environment, and to impose himself as an intellectual endowed with plural qualities". But in the words of Rafael Cardoso, "anyone who knows a little about Pedro Américo's biography and writings will know that it is not appropriate to attach too much importance to his almost unlimited self-contemplation. It is not surprising that a man who, in addition to considering himself the greatest painter of his the time, boasted of having refuted
1036:, that most attracted him: "My nature is different. I don't think I bend easily to the passing demands of the customs of each age... my passion, only sacred history satisfies it." Américo devoted most of the second phase of his career to this genre, also highly regarded by academics, considered a branch of historical painting, starting in the 1880s. Despite their religious theme, biblical paintings typified their bourgeois romanticism by decorative emphasis and for the love for exoticism. In addition to being a personal preference, they were a reflection of a change in context and catered to the taste of a new, bourgeois and sentimental audience, which was not a market for traditional historical works, but began to appreciate images that were more related to their own reality or were consumables without further complications. Despite preferring the biblical themes as inspiration, Américo did not fail to penetrate other popular areas at the time, bringing literary and medievalist themes to the canvases as well.
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ignorant, everything will mock you when they see you pass, saddened and afflicted, on the path of duty and sacrifice. Sad and lonely like a convict in his cell, nor at least you will be able to smile at the woman you love, without immediately feeling on your lips the bitterness of myrrh and the brush of wild thistle. In vain you will invoke the justice of men: it will mock your naivety, and even chase you for madness. Expeled from the bosom of your fatherland, you shall return to it like a weaning child... The balm of hope will be withheld from you... Do you know what the last sip of your cup of bitterness will be? This one will fulminate you! Finally, human science itself, in which you believe, and with which you have just threatened me, will mutilate your corpse to prove to the curious that you had the physical insides of a miscreant! Here is the reward of your virtue! And now that you have heard, go, walk and suffer: it will be of your own free will!
1379:– which although "confusing", "incomprehensible" and "full of defects" was "the greatest work of art that Brazil has" – Américo had stagnated: "No progress has been made in the span of five years... I will not say, however, that it has stopped forever; this is not the case; but I will say that some power, above the artist's will, has removed his mentality from the works of our time, from our aspirations of our aesthetic feeling, of the needs of our time". Duque also attacked Américo's philosophical writings and novels, saying that the artist embarked on areas that did not concern him, only out of vanity, and whose fruits were anachronisms that only satisfied frivolous spirits: "It was not enough for him to conquer the secrets of his art, he wished moreover, he sought the honors of a parchment, graduated from the Sorbonne and then obtained a doctorate in Belgium. The crisis of greatness came to him, which repeated itself several times in his life".
1477:, important intellectuals in Brazil, spoke about him. Despite the moment being a tribute, Freyre still repeated modernist criticisms in his questioning of the favors that Américo enjoyed from the government and his supposed lack of "Brazilianness", and although Rego admired his figure "without limits" and paid him countless compliments, he confessed that his art did not please him much, calling him a "great man who had failed" and repeated Freyre's arguments about the absence of local color in his production: "There is no light from the tropics for him. There is no human element, there is no woman, no mulatto, no black, the sun-tanned Brazilian, the simple men who shopped at his father's Daniel store". But he ended his article by saying that "if there was greatness in the empire of Dom Pedro II, Pedro Américo is one of the strongest, one of those that has the strength to overcome time". On the other hand,
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romantic and realist references. Américo's work expressed idealistic aspirations typical of classicism, reflected in his "didactic" historical paintings and moralizing allegories, in his sense of hierarchical composition, and even in his humanist writings; his detailed characterization of figures and objects sometimes approaches realism, but his stylistic expression is mostly romantic, which was not really a contradiction, since romanticism was by itself an eclectic and idealistic current and very much indebted to the classics. But
Brazilian Romanticism in painting, where Pedro Américo is included, was that of the third romantic generation, when the movement had already lost its original, passionate and revolutionary character, transforming itself into a softer and more conformist, more aesthetic and sentimental current, which quickly became bourgeois and in many ways genuinely "popular".
855:"History painting" did not just mean the representation of historical events, but it was the recreation of facts especially significant to a community or nation. It developed a symbolic visual rhetoric and had a moralizing didactic function. It was the most prestigious genre in the academic system, being the one that demanded the most from the artist in terms of creativity, general cultural knowledge and technical skill, it was also the one that could most easily convey an ethical message and the one that could most perfectly illustrate the discourse of the elites, consecrating its values, addressing itself above all to the general public. To achieve its goals, history painting could work with religious themes, properly historical, or absorb mythical figures from the classical past to allegorically lend greater brightness to current events, or to evoke exemplary virtues.
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intellectual conquests of peace, coming to be called a "hero" and "patriot", and compared to the combatants of the
Paraguayan War. At that moment, the war was a factor of intense national union, possibly "the fundamental milestone in the crystallization of national identity during the Second Reign", as Cardoso argues, "in which the elites of all Brazilian regions freely chose to jointly participate in a nationality project, based on the liberal values of modern Europe", considering Brazil an "evolved" people – as their artistic successes proved and trumpeted – who had the right to militarily civilize the Paraguayan "barbarians". This progressive vision of art as an educational tool and a vital phenomenon for the evolution of societies was deepened and expanded to exhaustion in his many writings.
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composition; and although the artist's detractors look for imaginary defects in them, the paintings will remain for the glory of their author and the school from which they came, and the honor of those who give them due appreciation". Laudelino Freire also remarked that: "The work of Pedro Américo... stands out in the creative unity of the manifestations of genius. At no time in our evolution, painting had brushes that translated it with accents of such high inspiration of the noblest thought and superiority of expression". And diplomat José Manuel
Cardoso de Oliveira stated that he was "a noble and sympathetic figure, a hero through the power of will, a genius through his talent, a master through his wisdom, a model through his virtues, an athlete through his work".
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apparently being a republican and democrat from an early age; Gonzaga Duque called him an opportunist. Américo was ambitious and knew how to take advantage of his context and to adapt to political and aesthetic changes, but for several authors his humanism and his interest in the main evolutionary lines of human culture were genuine, and not mere rhetoric. In any case, he was an active part of the cultural process that was underway in Brazil. In a speech he gave in 1870 in the presence of the emperor, on the occasion of the inauguration of the
Aesthetics and Art History course at the Imperial Academy, Pedro Américo described the artists as "true prophets of civilization" engaged "in the battles of progress". As Rafael Cardoso analyzed:
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1224:, Américo's hometown, which serves as the setting for the plot, is vividly described in its geographical details and urban profile. As the protagonists are sensitive young people, they are inclined towards the arts, but for that very reason they suffer more intensely in the face of misfortunes. They fall in love with equally virtuous and intellectual girls, but their love is also opposed by treacherous and evil people. In general, these pure young people live martyred, victims of their own innate nobility and sophistication, etiolated in a barbaric and rude environment. The result is often tragic. The plots are not limited to fiction, delving into social, political and cultural issues present in their time. In the introduction to
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revealing due to the historical moment in which they were made: shortly after the end of the
Paraguayan War but before the main representations of its battles came to light (from 1871 onwards) in the form of historical paintings, including those by Pedro Américo himself: His speech foreshadows, and almost enunciates in a programmatic way, the enormous critical and ideological repercussion that would be reached by some of these paintings, culminating.... in the 'battles' of public opinion around the 25th General Exhibition of Fine Arts, or Salon of 1879. For now, what matters is to register the clear awareness that the artist had of being engaged in a process of producing the symbols of his time
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1186:(1892), where, often, disillusioned, he criticized the inertia and immaturity of public power, denounced the similarity between monarchical rhetoric and the republican one and deplored the general backwardness in which Brazil lived. He mainly defended the creation of free public museums and universities as indispensable institutions in a complete public education system, and as bases for the constitution of a genuinely Brazilian culture. But, according to Francisca Gois Barros, these ideas "did not impress the enlightened assembly, essentially attentive to the serious problems of the country's political reconstitution... gems in an opulent but forgotten herbarium".
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values largely derived from the philosophical and educational tradition of
Classical Antiquity, with all its list of idealistic moral and civic virtues and all its rhetoric, manifested in art through beauty, harmony and a public utility. Functioning in close dependence on the States and elites, and having an idealistic philosophical basis, the European Academies naturally tended to be conservative, a characteristic that the Brazilian version shared with their European counterparts on whose imitation it was founded, but they were also agents of important artistic advances and on many occasions they were even avant-garde.
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1435:, they still bothered enough people, who saw in them a falsification of the factual truth of the events portrayed. According to Elias Saliba, in that period of accelerated technical and scientific innovations, the large public was already used to the visual fidelity of photography, and wished to see in the historical paintings the same scientific accuracy, and no longer the abstract and idealistic conventions of the old academic tradition. However, there were no image records of the events he painted, and despite his extensive prior documentary research, the artist found it very difficult to:
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544:, it aroused an even greater controversy than the previous battle. But the arguments were similar: the critics mainly attacked an alleged excess of fantasy and romanticism, as well as little historical accuracy in the representation of the scene. Américo, however, argued that: "A historical picture must, as a synthesis, be based on truth and reproduce the essential faces of the fact, and, as an analysis, a great number of reasonings derived, at the same time from the consideration of credible and probable circumstances, and from a knowledge of the laws and conventions of art".
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1517:, according to Pedro Américo, he only got to know the other work a year after he had finished his. Américo himself preferred to expose the problem in his Discourse on Plagiarism, where he defended the idea that what matters most in art is not the invention of new forms, but their constant improvement. In fact, the entire academic system was largely based on the authority of consecrated masters and on the perpetuation, both imitative and creative, of the foundations they left behind; the concept of plagiarism was just beginning to be articulated in the way it is known today.
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Europe differs greatly from ours – would find it, in many ways, empty and meaningless. But, is it necessary to write a book to prove that science is free? To prove that we perhaps have an immaterial soul, or else that man is a rational animal?... But for anyone who has followed the historical development of science and knows the current situation of spirits in Europe, all these questions present themselves as many other problems whose solutions, constantly challenged by exclusivist spirits, always deserve to be renewed in the truest and most impartial sense".
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was not yet ten years old. Wanting to test him to prove the skill that was claimed, Brunet got some objects and had Pedro Américo draw them in his presence; Américo was able to reproduce them with great resemblance. Impressed, Brunet decided to hire Américo as the expedition's draftsman, so the little artist accompanied the
Frenchman on a twenty-month trip across much of northeastern Brazil. In 1854, at the age of eleven, provided with several letters of recommendation, Américo was admitted to the Imperial Academy of Fine Arts, in
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independence and supremacy and assert his glory. From the
Baroque onwards, the historical genre entered its golden phase, when the potential of its visual rhetoric was perceived and explored in depth by elites and governments, and, indifferent to the change in styles over the successive centuries, continued to serve the same purposes, always more linked to the civil sphere of society, although it could often incorporate religious elements in a period when Religion and the State lived in close proximity and the doctrine of the
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912:, were rare, very modest in scale and did not always portray Brazilian events. Nationalism had not yet been added to the mix, the political usefulness of the Academy at this point was not yet understood, there was little funding for it, and it was not even an official priority to maintain it. This unfavorable scenario was the simple expression of a frontal clash between two opposing realities: a Brazil still baroque, religious and semi-savage, and a neoclassical, secularized and sophisticated France.
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1134:, a thesis he defended at the Free University of Brussels. Considered the summary of his philosophical conception, he was well received and secured the position of adjunct professor at the University. The thesis dealt with the historical evolution of the arts, philosophy and science, seeking a Renaissance universality of thought, and handled a great number of erudite references from various areas of knowledge. Carolina Invernizio's analysis highlighted Américo's opposition to
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943:, the national forces in Brazil were engaged under a defined nationalist program, and all the favorable background was created, with an Imperial Academy already in stable operation, did historical painting have conditions to start a flowering, finding in Victor Meirelles and in Pedro Américo himself its pioneers and its two most illustrious representatives, manifesting itself in an unprecedented monumental scale. Even in Europe, the painting
1214:, argumentative, asymmetrical, proselytizing, in which typically young men from poor families, but with integrity, heroically try to climb the steps of improvement by their own effort, in the midst of infinite torments and the opposition of the forces of evil, represented by the incomprehension, envy, lack of perspective and the apathy of others. In fact, in his four novels, three have protagonists who were born and lived their youth in the
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country has ever produced, and his fame and influence in life, the burning debates he aroused in his institutional, cultural and political performance, in a critical moment of articulation of a new system of symbols for a country just emerging from the condition of colony and of consolidation of a new system of art on modern methodological and conceptual bases, highlight him as one of the most important names in the history of
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these studies profoundly marked his character and thought, and he began to dedicate himself to classical studies and to be concerned with the artist's civil responsibility and his political commitment. There he began to organize his synthetic philosophy, where the arts were, for him, the true promoters of social progress, and should be cultivated on a humanist basis, mirroring the example of the classical Greeks and the
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years old, already aware of his talent, he had requested the personal sponsorship of the emperor, and throughout his career he sought his promotion systematically, obtaining an unprecedented international response for a Brazilian, being the subject of about 300 articles published in many countries of the world. Europe, mainly Italy and Germany, besides, of course, Brazil, most of them with great praise for his talent.
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South America or exalted the virtues of the people and their leaders. With that, the elements were gathered for the construction of a nationalist iconography that would legitimize this recent country in the face of international powers and that still lacked its own symbology. In the first and most prominent phase of his career, the imperial one, Américo left historical works since his youth, such as
402:, the Netherlands and Denmark. He then continued through Morocco, Sicily, the Greek islands, and Algeria, which was something of a Mecca for many painters of his generation who were interested in exotic settings. There he worked as a draftsman for the French government, making records of human types, landscapes and animals in the region. The publication, in French, of his first novel,
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three children. He arrived in Rio de Janeiro in the early 1870s and began to dedicate himself to painting mythological and historical canvases and portraits. At the Imperial Academy he taught archeology, art history and aesthetics. He also wrote, directed the numismatics and archeology sections of the Imperial and National Museum, and made caricatures for the periodical
583:, but even after offering the work for free the project did not bear fruit. Disenchanted, Américo resigned from the Academy, which was denied. At any rate, taking advantage of the Emperor's esteem for him, he obtained a leave of absence and set out again. At the beginning of the 1880s, already in Europe, he still tried to return to the theme of battles, designing a
985:, which fully met the needs of the state, of which Pedro Américo was undoubtedly one of the great interpreters. This interpretive capacity assured him a unique success among the sponsoring elites even after the republic was proclaimed in Brazil, when the appropriation of academic art by politics remained essentially the same as before, as evident by the paintings
239:. He left a large written production on aesthetics, art history and philosophy, where, inspired by the classical model, he gave special attention to education as the basis of all progress and reserved a superior role for art in the evolution of humanity. He won several honors and decorations, including the title of Historical Painter of the Imperial Chamber, the
301:, who would be an important influence on him, and his future father-in-law. Even before finishing the course, Américo obtained a pension from emperor Pedro II to go and study in Europe. Shortly before boarding, he developed an illness diagnosed as "lead colic", supposedly an intoxication by the paints he used, and which would accompany him throughout his life.
1513:. The issue caused controversy at the time. If there was imitation, its intentionality has never been proven, and if there are similar elements between the paintings, this is most likely due to the habit, common to all academic artists, of replicating or varying formal stereotyped models widely used within the visual repertoire of the academic style. About
161:, studying with famous painters, but he also dedicated himself to science and philosophy. Soon after his return to Brazil, he began to teach at the Academy and began a successful career, gaining prominence with great paintings of a civic and heroic character, inserting himself in the civilizing and modernizing program of the country fostered by emperor
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Greco-Roman heroism, historical revivalism, biblical and literary drama, bucolism, oriental exoticism and new urban types. At a time when there was still no cinema, whose first steps were only taken at the end of the 19th century, theater and, above all, opera, were the only rivals to the visual, rhetorical and narrative potential of academic art
387:, but did not assume the chair. Américo visited his hometown, which he would recreate in his novels, where he found a brother who was born in the year of his departure and worried about the poverty of his relatives. Back in Rio de Janeiro, he published a pioneering series of essays on aesthetics and art history in the journal
657:. At the invitation of the French government, he participated in a commission of the Regulatory Congress of Literary and Artistic Property, and represented Brazil in the Congress for the Protection of Historic Monuments, whose presidency he assumed in several sessions, in the absence of the titular president, the architect
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was involved in major controversies throughout his career and made countless friends and detractors both in life and posthumously. In 1871, when Américo was less than 30 years old, his first biography appeared, written by Luís Guimarães Júnior, a laudatory and dramatic propaganda piece symptomatically entitled
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The contradiction of the controversies about being modern or being faithful to the facts was that while many criticized the falsity of the compositions, in several aspects the painter was very faithful to reality. Pedro Américo, like many other painters of his generation, effectively used photographs
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Historical painting, so recommended and demanded, always presented historical facts that had no relation to our lives. Pedro Américo, professor of archeology, falling into constant errors in this matter, gave us Joan of Arc, Moses, Judith, Heloise and Abelard, Voltaire, and so many other paintings of
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Américo had a strong sense of professional independence, being a skillful negotiator of his interests with clients, the press and official sponsors. He didn't always get everything he wanted, but his international success is partly due to his dynamism and assertiveness in this regard. At only fifteen
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Américo spent the following years mainly in Florence, abandoning civic matters that had a market only in the government itself and dedicating himself to works of a late and sentimental Romanticism, in allegories and scenes of oriental, historical or biblical themes, types that he personally preferred
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at the Faculty of Sciences of the University of Brussels, obtaining the degree of Doctor of Natural Sciences, approved with merit and appointed in January of the following year as an adjunct professor. The approval was reported in several Brazilian and Belgian newspapers in extremely laudatory terms,
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studying Latin, French, Portuguese, arithmetic, drawing and music, standing out among his colleagues for his dedication and intelligence. His letters to his family reveal a student aware of his responsibilities, and he already had a desire, still uncertain, to dedicate himself to historical painting.
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Pedro Américo was the son of the merchant Daniel Eduardo de Figueiredo and Feliciana Cirne; he was the brother of the also painter Francisco Aurélio de Figueiredo e Melo. His family was linked to the arts, although they did not have many resources, and from an early age he found at home the necessary
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mentally restore, and clothe in the material appearances of the real, all the particularities of an event that took place more than half a century ago, especially when it was not transmitted to us by contemporaries skilled in the art of observing and describing. The difficulty grows in proportion to
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A charismatic and controversial figure, Américo had a unique intellectual preparation among Brazilian artists of his time, and he had a high opinion of himself and his achievements. He was "deified, fought, loved and rejected", as Gonzaga Duque had said. Américo produced a complex and eclectic work,
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Inspired by the vivid recollection of events which have largely taken place in my presence, or in that of friends worthy of the greatest credit, the story of the singular existence that I have tried to sketch here will serve to demonstrate how much our society has progressed in the last quarter of a
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Academicism systematized a repertoire of visual formulas possessing specific meanings, prescribing rules for their use, as if dictionarizing the history of visuality and organizing it in a peculiar grammar and semantics. More than that, it established a method of teaching art based on hierarchies of
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in Brazil on 15 November 1889, a change that led to the ostracism of another great academic painter of his generation, Victor Meirelles, Pedro Américo, back in Brazil, managed to maintain part of his prestige with the government, although he was also fired from the Imperial Academy as his colleague.
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At a certain point, he ended up in financial difficulties, but managed to supplement his academic pension with help from the Provincial Assembly of Paraíba in 1863. In 1864, visiting Scotland by boat, he was saved from a shipwreck. In the same year he returned to Brazil, recalled back by the emperor
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of his time, Pedro Américo was a painter of undeniably rare gifts, but above all he became one of the main symbols of everything that the academic system allegedly had as conservative, elitist and distant from the Brazilian reality. His great artistic merits make him one of the greatest painters the
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The controversies that Américo's works often caused were aimed not only at him as an artist, but also as a symbol. For Cybele Fernandes, "in fact, the Academy of Fine Arts and the entire system that it represented, its methods, processes, teachers, and politics, as well as the maturation of society
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On the other hand, some critics believed that Américo's long stays in Europe were an escape from Brazil, in whose history he would have little interest. His personal thematic preferences, as he himself stated, were heading in another direction. Be that as it may, it was on his historical works that
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However, right at the beginning of the novel, the gypsy character Rhadamina makes a dismal prediction for the protagonist, Agavino, which serves as the structuring axis of the entire narrative — all the gypsy's predictions are confirmed — and allows the reader to capture something of the oppressive
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If this book had been written in Brazil, it would certainly lack local color, since none of the issues that I address with some developments are treated here from a national point of view; therefore, anyone who reads it without thinking about this fact – that the moral and intellectual situation of
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However, as its tropical version took a long time to work and Brazil, an independent Empire since 1822, was in perennial upheaval and could not present anything too grandiose to be proud of in the face of a disaffected population still indifferent to the academic arts, the genre did not immediately
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was articulated. The iconography produced, exalting the State and its King or representatives, its deeds and military conquests, often showing them blessed by God or by his angels and saints, or surrounded by classical divinities or personifications of virtues, justified, through an art that should
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himself, the most influential opponent of the academics, despite heavily criticizing the work, found in it elements to say that Américo had finally managed to break free from the orthodoxy of academicism and create a new and personal language of great vigor. At the same time, Américo was accused of
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published a short, highly romanticized biography of the artist, which gained wide circulation and increased Americo's popularity. As a result, by the end of the year he had become a famous painter throughout the country, receiving commissions and distinctions, such as the Imperial Order of the Rose
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But when he returned from Europe, he was still an unknown painter to Brazilians. A teaching career did not offer many prospects for fame and fortune, the Brazilian art market was still incipient, and it appears that he had a difficult, proud and self-sufficient personality, which earned him several
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Reality inspires, it does not enslave the painter. What it contains worthy of being offered to public contemplation inspires him, but what it hides contrary to the designs of art does not enslave him, which often coincide with the designs of history. And if the historian removes from his paintings
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This discourse echoed in several other critical sources, which established a kind of equivalence between Brazilian military and artistic efforts, in short, endorsing Pedro Américo's statements about national glory as a "legitimate daughter" of the encounter between the conquests of the war and the
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For this audience, Pedro Américo left a significant production, although little studied, remaining in the shadow of his historical paintings. This part of his work was severely criticized by the modernists as they thought it had an excess of sentimentality and intellectualism, which would have led
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In Américo's generation, the Empire of Brazil was internally entering a phase of reasonable stability, it asserted itself as the greatest South American power and its economy and culture were diversifying and expanding. There were many problems, certainly, but they were sought to be overcome in an
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Pedro Américo drew very well and soon the fame of the little prodigy spread throughout the city. When a scientific expedition arrived there in 1852, its organizer, naturalist Louis Jacques Brunet, went to visit him and was able to appreciate a series of copies of classic works made by the boy, who
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Pedro Américo also left several theoretical works in history, natural philosophy and fine arts, as well as poetry and novels. However, this production is much less known and studied than his paintings, and its value has been questioned, but it is important for revealing other facets of Américos's
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In part, this shift in general preferences towards the prosaic and accessible were due to the rise of realistic aesthetics, progressively incorporated by academics at the end of the 19th century, and the popularization of photography, which painters such as Pedro Américo began to make use of as a
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Américo possessed a sophisticated technique, paid great attention to detail and was quick to work. He was always an academic, but a versatile and eclectic one in the most influential and most contradictory phase of international academicism, which defined itself as a complex mixture of classical,
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His other essays generally dealt with the same themes, pointing to education as the premise of progress, debating the nature of beauty and the ideal, affirming the primacy of art in the social order and its inherent educational and civilizing role, valuing the testimony of history and scientific
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Pedro Américo acquires his greatest importance as a historical painter when he met a fundamental demand from the government: the reconstitution of ceremonies or historical events that signaled institutional autonomy, ensured the possession of the territory, affirmed Brazil as a military power in
532:, spread his fame throughout Europe, being celebrated in a number of articles and news as one of the greatest painters of his time. The Italian government, echoing the widespread praise, asked Américo for a portrait to appear with the luminaries of art of all times in the portrait gallery of the
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Relenting to the government's requests, Américo returned to Brazil in 1869, first passing through Portugal, where at the end of the year he married Carlota de Araújo Porto-Alegre (1844–1918), daughter of Manuel de Araújo Porto-Alegre, then Brazilian consul in Lisbon. With her he would later have
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and the Conservatory of Arts and Crafts. During this period, he wrote many essays on the relationship between art, science and social progress, a theme on which he would defend his thesis. In 1862 he went to Belgium, enrolling at the Free University of Brussels, but rarely attending classes. All
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For those who know the mirages produced by the imagination of a thirsty soul, and has already tasted the sadness generated by the disappointments of existence, only the inner world is worthy of sheltering them, as well as containing the ideals that still surround them as a last caress; only the
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Ernesto Gomes Moreira Maia, interim director of Imperial Academy, was an example: "The paintings by Dr. Pedro Américo, almost all of them suitable only for galleries due to their dimensions, form a collection of great merit, both for their perfect execution and for the feeling of an idealistic
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You will be a great wretch, because you have talents, virtues and a pure heart. I don't need to read your destiny in the palm of your right hand, because it is written on your forehead and in your actions. Oh, how it will be for you. Sad existence!... People, country, great and small, wise and
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His speech emphasizes the urgent need to invest in the education of artists, 'whose productions will be the symbol of our times, when the centuries to come anxiously interrogate the codices of the past'. From the point of view of the longing centuries to come, these statements are especially
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Américo's adhered to the imperial government's program in the 1870s, and his initial success largely depended on it, but whether it was sincere is not known for certain. He always sought to reaffirm his intellectual independence, criticized the problems of the political and cultural system,
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Bourgeois society, both in Europe and in Brazil – where it had a late development as a result of the historical mismatch – had a very strong identification with academicism, above all for the thematic wealth and versatility that made possible a true journey to a world of dream and fantasy:
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Meanwhile, the styles changed once again, Brazil absorbed other European influences and romanticism began to predominate. If the immediate antecedents of Brazilian historical painting were in neoclassicism, impersonal, rational and universal, romanticism, especially in its second and third
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History painting is defined by its subject and purpose, not its style. The genre has an immemorial origin, but it was consolidated in the Baroque period, when European absolutism was developing. In this system power is centralized, and all means are used to guarantee the sovereign's total
1158:. For Américo, science, as well as art, should be exempt from particular obligations, abolishing dogmas, arbitrary opinions and exclusivist systems, seeing as essential to their flourishing free investigation, free creation and free thought. In the thesis preface, Américo warned that:
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generation, emphasized the note of the particular, the note of the self, the minority, the nation or of the clan in relation to the large group, seeking to integrate it with classical universalism, while preserving a sense of identity differentiation, internal cohesion and autonomy.
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the artist's needs – a kind of historian bound by the demands of aesthetics and the uncertainties of tradition – to identify circumstances whose veracity can be doubted, and which not even because they are real deserve the attention of history and the consecration of the beautiful
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amaze, seduce and above all convince and indoctrinate both subjects and foreigners, the maintenance of a system that was capable of such impressive feats in politics as in the arts, which acted in mutual favor. When neoclassicism arrived, the model was simply revisited once more.
477:. Gaining the support of the press, he organized an intense promotional campaign for his work. Between August and September 1871, almost not a day passed without newspapers from Rio de Janeiro talking about the artist or the canvas, which was visited by more than 60,000 people.
1009:. Stylistically, the set of his historical paintings reflects the transformations of the dominant trends in the academic universe of his time. In his career as a historical painter, Américo always sparked heated controversies, being idolized by some and execrated by others.
634:. Orders in Rio de Janeiro were scarce, however, and his health was no longer good; after losing a son, he saw his two others fall ill. However, Américo managed to sign a contract with the government of São Paulo for the creation in three years of another important work,
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in 1816, historical painting was already "provided for" in the curriculum, since Lebreton, himself an academic, merely traced his project based on the structure of the Academy in Paris, reputed to be the most advanced of all that existed at the time throughout the West.
710:. In 1890 he was elected deputy for Pernambuco at the Constituent Congress and during his term he defended the creation of museums, galleries and universities throughout the country, but his already fragile health prevented him from attending the sessions assiduously.
206:, allegorical and biblical themes, which he personally preferred and whose market was expanding, but this part of his work, popular at the time, quickly went out of fashion, and did not receive much attention from specialists in recent times remaining little known.
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painting aid. In this context, academic painting continued to be appreciated by the bourgeoisie, which did not despise either the prestige aura with which it was still covered, nor the high technical quality of its production. Ivan Coelho de Sá noted that:
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investigation, and preaching an alliance between reason and sensitivity in the classical way. The same inclination can be seen in part of his correspondence and in the texts on aesthetics and art history that he published through newspapers, such as the
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policy, his investments suddenly went down in value and he was ruined. In 1894, impoverished, his health deteriorating and his eyesight impaired, he moved permanently to Florence. Despite his problems, he still painted and wrote, publishing the novels
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While still alive, Pedro Américo received the honors of Historical Painter from the Imperial Chamber; Officer, Grand Dignitary and Commander of the Imperial Order of the Rose; Grand Knight of the Order of the Holy Sepulcher and was decorated by king
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In 1885 Américo briefly visited France and returned to Brazil to take up the chair of art history, aesthetics and archeology at the Imperial Academy, to which the emperor was assiduously present, and in the following year he published another novel,
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foreign themes, when our own history still was, as it is, unexplored; and as this painter was the one who gave the note at that time, all the others followed him in the waters and there came the biblical collections, in which St. Jerome did not fail
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in Brazil, leaving works of national impact. From an early age he showed an inclination towards the arts, being considered a child prodigy. At a very young age, he participated as a draftsman on an expedition of naturalists through the Brazilian
406:, which was only translated to Portuguese in 1882, dates from this time. His finances were tight again, he went hungry and had to make drawings and portraits in cafes to survive. Receiving a gold medal at the Imperial Academy for the painting
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beginning in 1874 and being finished only in 1877. When first exhibited in Florence, still incomplete, it caused a sensation among art connoisseurs who had gathered in large numbers in the city for the celebrations of the fourth centenary of
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The French knew the difference, and made a point of pointing out their "superiority", but to make matters worse, these French painters were former bonapartists, supporters of the one responsible for the invasion of Portugal and the
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because there was no court that sponsored it or academies that taught it; the territory was a Portuguese colony and its painting, almost entirely based on religious worship, was made in a corporative and semi-artisanal system. When
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He spent his career between Brazil and Europe, and in both places his talent was recognized, receiving great favors from critics and the public but also raising passionate controversies and creating tenacious opponents. For the new
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Despite being best known for his civic paintings, these constitute but a fraction of Américo's complete work. When writing in 1864 for the painter Victor Meirelles, Américo stated that it was the biblical theme, especially the
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all the disturbing incidents of the clarity of his lessons and the magnitude of his ends, with much more reason does the artist, who proceeds dominated by the idea of the aesthetic impression he must produce on the spectator
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He acquired an intellectual sophistication quite unusual for Brazilian artists of his time, taking an interest in a wide variety of subjects and seeking solid preparation. He obtained a BA in Social Sciences from the
1001:, the most important works of the second phase of his career, all painted for the republican officialdom. Those of the first phase are majestic, erudite and typically romantic works. Those of the second, except for
757:, Américo's hometown. The final burial in his hometown took place on 9 May 1906, also surrounded by great tributes. The house where he was born is now a museum dedicated to his memory, the Casa Museu Pedro Américo.
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Américo to affectation and artificiality. Such attacks left such a negative mark on him that to this day this production is largely forgotten or despised. Among the works of this theme that can be highlighted are
1395:, who on the painting raises her hand to her face with an anxious expression, Agostini commented that "before parting with her son, Moses' mother feels a deep toothache." Oscar Guanabarino stated that:
932:, entering a tumultuous period. Adding to the adverse factors, it took decades before the Brazilian Academy could function on a regular basis and take root in its aesthetic and ideological principles.
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and has a bust in his honor in via Maggio in Florence. In his hometown there is a street named after him and the house where he was born today is as a museum in his memory. The cover art of the album
745:, the capital of Paraíba, where he received solemn obsequies between official mourning, the city's shops were closed and a crowd of admirers. On 29 April 1906, he was provisionally deposited in the
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After a painful and bumpy journey, he arrived in Paris in mid-May 1859, immediately scouring the city's museums, monuments, palaces and art galleries. At the same time, he enrolled at the
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in the degree of officer (later promoted to Grand Dignitary and Commander) and the title of Historical Painter of the Imperial Chamber, but also becoming the center of great controversy.
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410:, a nude refused by emperor Pedro, to whom it had been offered. Americo asked a friend in Rio de Janeiro to sell the prize, with whose money he could support himself for a while longer.
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was seen as an innovative contribution to an ancient and venerable genre, but already in decline, and which in Brazil had such an ephemeral life, soon discredited by the modernists.
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stimulus for the development of an early talent. His father was a violinist and introduced him to music, as well as introducing him to drawing by giving him books on famous artists.
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mastery of these impalpable realities born in the depths of feeling and illuminated by the beam of poetry have the charms that can ease the pains of a life not comforted by hopes
536:, being exhibited among those of Ingres and Flandrin, Américo's own masters. When it was exhibited in Brazil, at the Imperial Academy General Exhibition of 1879, alongside the
638:, painted in Florence in 1888, which immediately became famous and also controversial. Once again, his aesthetics were the subject of debate and he was accused of plagiarism.
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368:, in Paris, where they exhibited artists who remained outside the official circuit, which was important in bringing him into contact with the pre-modernist avant-gardes.
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Joining the Academy's Industrial Design course in 1856, his progress was equally brilliant, winning 15 medals in drawing, geometry and live model, being nicknamed
1387:, Agostini said that Américo threw "whipped egg whites into space! Nice thought (if it is his), but as for the execution... detestable! What a disaster!"; about
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narratives of extreme sentimentality, associated with a realistic, almost photographic description of environments and details. They are semi-autobiographical,
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assuming the character of a scientific event, and according to his first biographer, he was awarded the Order of the Holy Sepulcher, granted by Pope
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to participate in a competition for professor of Figurative Drawing in the Industrial Design course at the Imperial Academy. He won it with the work
1220:, a Brazilian region where Américo was born and raised, notorious for the poverty of its population and for its semi-arid environment. In the novel
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Over the course of his career Américo amassed considerable wealth by investing in government bonds, but with the financial crisis triggered by the
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date from this period. At the same time, the Brazilian government pressured him to return and take up his professorship at the Imperial Academy.
626:. Several of these works participated in the Academy's halls or were exhibited in Florence, and many were acquired by the Brazilian government.
343:. Américo graduated in Social Sciences at the Sorbonne, delving into architecture, theology, literature and philosophy, and attended classes by
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1566:. He was a member of several European academies. He is the patron of chair number 24 of the Academy of Letters of Paraíba. His painting
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century, and , at the same time, how far it has to walk to deserve the incomparable country that God has designated for us as a scenario
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Although Américo's civic paintings rose to fame as soon as they were exposed and recognized by the establishment, as was the case with
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Even with much praise, Américo's work was not immune to the scrutiny of critics linked to emerging modernism. For Gonzaga Duque, after
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741:, his body was embalmed and transferred to Rio de Janeiro, where it was exposed for a few days at the War Arsenal. He was then sent to
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Schwarcz, Lilia Moritz (2000). "Romantismo Tropical: A estetização da política e da cidadania numa instituição imperial brasileira".
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His participation in the politics of the new republic as a deputy yielded several speeches and projects, collected and published as
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thinking. His first literary essays were poems written while he was studying at the Pedro II College, and his most relevant text is
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Américo died in Florence on 7 October 1905, victim of "lead colic", a supposed intoxication by the paints he used. By order of the
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2292:"A temática, na pintura do século XIX no Brasil, como veículo de afirmação e sobrevivência: Pedro Américo de Figueiredo e Mello"
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Denis, Rafael (2000). "Academicism, Imperialism and national identity: the case of Brazil's Academia Imperial de Belas Artes".
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As he had other cultural interests besides art, during his stay in Paris Américo also studied at the Institute of Physics of
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332:. He won two first-class prizes, but was not interested in the great academic halls, which he considered unrepresentative.
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2791:"Independência ou Morte (1888) de Pedro Américo: a pintura histórica e a elaboração de uma certidão visual para a nação"
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2983:"O Processo de Desacademização através dos Estudos de Modelo Vivo na Academia/Escola de Belas Artes do Rio de Janeiro"
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3204:"Relatório do ano de 1884 apresentado à Assembleia Geral Legislativa na 1ª Sessão da 19ª Legislatura em maio de 1885"
2414:"A construção simbólica da nação: A pintura e a escultura nas Exposições Gerais da Academia Imperial das Belas Artes"
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his most enduring memory was built, works that acquired, like few others, the status of national icons in Brazil.
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in the field of philosophy and even risked as a novelist, attributed to his own works a high historical value".
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in its heyday, leaving works that remain alive in the collective imagination of the nation to this day, such as
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2490:"A representação da simbologia do poder na obra Dom Pedro II na Abertura da Assembleia Geral, de Pedro Américo"
2324:"As vicissitudes das encomendas no século XIX: A encomenda a Pedro Américo da pintura Batalha do Avahy em 1872"
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247:. He also left some poetry and four novels, but like his theoretical texts, they are little remembered today.
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disaffections. However, taking advantage of the wave of patriotism unleashed by the Brazilian victory in the
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568:, was the best one. The case was epoch-making in Brazil and became known as the Artistic Question of 1879.
473:, a large-scale composition in which he sought to praise the monarchy and the main hero in the battle, the
2842:"Memória do Cavaleiro Joachim Lebreton para o estabelecimento da Escola de Belas Artes, no Rio de Janeiro"
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psychological atmosphere which is very present in the text, as well as analyzing Américo's writing style:
1232:, Giulio Piccini and other intellectuals from Brazil and Europe, Américo presents the didactic intention:
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Cambiassu – Revista Científica do Departamento de Comunicação Social da Universidade Federal do Maranhão
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235:; professor of drawing, aesthetics and art history at the Imperial Academy, and constituent deputy for
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515:, and began the sketches for the government's of what was one of his greatest masterpieces, the large
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III Encontro de História da Arte – História da Arte e instituições culturais – perspectivas em debate
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Guimarães Júnior, Luís (1890). "Um Millionario de Glorias: Noticia Biographica sobre Pedro Americo".
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202:, reproduced in school books across the country. In the second half of his career he concentrated on
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In 1865 he wandered, largely on foot, through several countries. He began his journey from Paris to
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2998:"A Pintura de Temática Religiosa na Academia Imperial das Belas Artes: Uma Abordagem Contemporânea"
2522:"Ressuscitando um Velho Cavalo de Batalha: Novas Dimensões da Pintura Histórica do Segundo Reinado"
528:'s birth. The work and a speech Américo delivered in two languages before the Renaissance master's
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A Arte como Princípio Educativo: uma nova leitura biográfica de Pedro Américo de Figueiredo e Melo
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3255:. São Paulo: Fundação Bienal de São Paulo: Associação Brasil 500 Anos Artes Visuais. p. 113.
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2561:. São Paulo: Fundação Bienal de São Paulo; Associação Brasil 500 Anos Artes Visuais. p. 201.
1228:, a "philosophical novel of character and customs", the best known of his novels, appreciated by
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Acervo do Memorial dos Acadêmicos da Academia Paraibana de Letras: conhecimento para preservação
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587:, to be acquired by the Italian government, but he did not go beyond the preparatory sketches.
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2339:"A Construção Visual da Monarquia Brasileira: Análise de Quatro Obras de Jean-Baptiste Debret"
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Philosophical Considerations on Fine Arts among the Ancients: Art as an Educational Principle
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144:, philosopher, politician and professor, but is best remembered as one of the most important
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Judite rende graças a Jeová por ter conseguido livrar sua pátria dos horrores de Holofernes
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Judite rende graças a Jeová por ter conseguido livrar sua pátria dos horrores de Holofernes
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Judite rende graças a Jeová por ter conseguido livrar sua pátria dos horrores de Holofernes
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and some copies of works by other European authors, but his talent was consecrated with
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Among the artists who were possibly an influence on Américo's most important works are
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1891:"Trabalho de professora investiga a composição de quadros históricos de Pedro Americo"
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2154:"Aspectos da trajetória do Romantismo no Brasil: Pedro Américo de Figueiredo e Mello"
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Contribuição Contemporânea à História da Filosofia no Brasil: Balanço e Perspectivas
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2751:"Quando Subordinados Roubam a Cena: A Batalha de Campo Grande de Pedro Américo"
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880:, defined the structure of the first academy in Brazil in a memorandum to king
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History Painting Reassessed: The Representation of History in Contemporary Art
560:, and another controversy tried to decide which of the two battles, Americo's
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2033:"1871: A fotografia na pintura da Batalha de Campo Grande de Pedro Américo"
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Joana d'Arc ouve pela primeira vez a voz que lhe prediz o seu alto destino
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Joana d'Arc ouve pela primeira vez a voz que lhe prediz o seu alto destino
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Joana d'Arc ouve pela primeira vez a voz que lhe prediz o seu alto destino
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Cultura Digital Representação Regional Nordeste do Ministério da Cultura
3299:"Inspiração ou Plágio? Processo Criativo de Alguns Artistas Brasileiros"
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495:, 1873. Emperor's Pedro II speech at the opening of the General Assembly
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His style in painting, in line with the great trends of his time, fused
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391:, but soon after, asking for leave without pay, he returned to Europe.
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297:(medal earner) by the director of the institution, artist and scholar
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elements, and his production is one of the first great expressions of
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Coli, Jorge (2002). "O Sentido da Batalha: Avahy, de Pedro Américo".
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Voltaire abençoando o neto de Franklin em nome de Deus e da Liberdade
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In 1943, with the celebrations of the centenary of Américo's birth,
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The house where Pedro Américo was born, today a museum in his memory
231:. He was director of the antiquities and numismatics section of the
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277:, but could not join immediately. Before that he spent a season at
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História dos usos e costumes do Brasil: 500 anos de vida cotidiana
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in relation to art and its social function were also evaluated".
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Science and Systems: Questions of Natural History and Philosophy
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Only when the Empire of Brazil was finally stabilized, from the
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Science and Systems: Questions of Natural History and Philosophy
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Anais do XXIV Colóquio do Comitê Brasileiro de História da Arte
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3335:"Pintor Pedro Américo é tema de semana cultural em Areia – PB"
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Mostra do Redescobrimento, 2000, São Paulo. Arte do século XIX
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Naves, Rodrigo (1996). "Debret: neoclassicismo e escravidão".
1175:(1864), published as a series of 22 articles in the newspaper
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and that had greater penetration among the public, among them
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Anais do XXV Simpósio Nacional de História – História e Ética
2218:. Enciclopédia Itaú Cultural. 7 November 2005. Archived from
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As barbas do Imperador: D. Pedro II, um monarca nos trópicos
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and José de Carvalho, was the spiritualist strand of French
690:. Américo produced more important works for the new regime:
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In this period and in the same spirit Américo also produced
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Members of the Chamber of Deputies (Brazil) from Pernambuco
2760:. No. 19. João Pessoa. pp. 81–101. Archived from
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prosper. The examples left by the French Mission painters,
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Migliaccio, Luciano (2000). "A segunda metade do século".
2961:"Pax et Concordia: A arquitetura como caminho da alegoria"
2544:"O Mecenato Artístico de D. Pedro II e o Projeto Imperial"
2440:"Victor Meirelles e a Construção da Identidade Brasileira"
3158:"Comentários e críticas de Gonzaga Duque a Pedro Américo"
3063:. Rio de Janeiro: Universidade Federal do Rio de Janeiro.
3372:"Arab Strap reunite after 15 years for As Days Get Dark"
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A Filosofia da Ciência sob o Signo dos "Science Studies"
2932:. New Dictionary of the History of Ideas. Archived from
2882:"A Academia Imperial de Belas Artes e o Ensino Técnico"
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David em seus últimos dias é aquecido pela jovem Abisag
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David em seus últimos dias é aquecido pela jovem Abisag
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3022:"A Fotografia na Pintura Espetacular de Pedro Américo"
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Américo was twice accused of plagiarism, in the works
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Américo's self-portrait as soldier 33 in the painting
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2700:. Vol. 2. São Paulo: Mestre Jou. pp. 871–2.
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1Green, David; Seddon, Peter (2001). "Introduction".
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Brazilian painter, author, philosopher and politician
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Biscardi, Afrânio; Rocha, Frederico Almeida (2006).
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system phone card. He gives his name to a square in
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Cover of Américo's thesis, 2nd French edition, 1869
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2356:. Fundação Getúlio Vargas Editora. pp. 41–42.
1370:
604:A Noite acompanhada dos gênios do Estudo e do Amor
153:, and received government support to study at the
3221:. São Paulo: Revista do Brasil. pp. 392–398.
2789:Schlichta, Consuelo Alcioni Borba Duarte (2009).
2611:Duro, Paul (2002). "Academic Theory: 1550–1800".
1485:, did not even mention Américo's famous battles.
967:Sócrates afastando Alcebíades dos braços do vício
385:Sócrates afastando Alcebíades dos braços do vício
376:Sócrates afastando Alcebíades dos braços do vício
136:(29 April 1843 – 7 October 1905) was a Brazilian
3394:
2488:Prazeres, Jéssica Costa; Costa, Mariana (2011).
2259:
2193:"Américo, Pedro (1843–1905): Comentário crítico"
749:, until the finishing of the mausoleum that the
2851:
2630:. Oxford University Press US. pp. 218–219.
2317:
2315:
2313:
2311:
2309:
2307:
2305:
2303:
2301:
751:Historical and Geographical Institute of Brazil
3355:. Portal Cidade de Areia. 2009. Archived from
2829:. Manchester University Press. pp. 53–66.
2729:
2727:
2725:
2160:. Editora Universitária UFPE. pp. 45–56.
3369:
3047:
3045:
2865:. Biblioteca Nacional Digital. Archived from
2827:Art and the academy in the nineteenth century
2685:. Cambridge University Press. pp. 11–28.
2665:Como estudar a arte brasileira do século XIX?
2583:. Manchester University Press. pp. 1–16.
2559:Mostra do Redescobrimento: Arte do Século XIX
2541:
2487:
2255:
2253:
2251:
2249:
1532:Charge of the French Cuirassiers at Friedland
3175:
3173:
3171:
3169:
3167:
3096:(4 ed.). UEL/CEFIL. pp. 45, 80–85.
2784:
2782:
2780:
2778:
2776:
2774:
2640:
2578:
2557:Migliaccio, Luciano (2000). "O Século XIX".
2407:
2405:
2403:
2401:
2399:
2397:
2395:
2393:
2391:
2389:
2298:
2247:
2245:
2243:
2241:
2239:
2237:
2235:
2233:
2231:
2229:
1943:. Fundação Vingt-Un Rosado. pp. 70–146.
1116:
437:
3087:
3085:
3061:Anais do Congresso Scientiarum Historia III
2722:
2709:
2707:
2593:: CS1 maint: numeric names: authors list (
2537:
2535:
2533:
2531:
2483:
2481:
2479:
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2453:
2451:
2449:
2285:
2283:
2281:
2279:
2277:
2275:
2273:
2271:
1448:Commenting on these aspects in the case of
1366:, 6×11m, 1877, National Museum of Fine Arts
928:the throne and the country was headed by a
3250:
3151:
3149:
3147:
3145:
3143:
3141:
3139:
3051:
3042:
2749:Christo, Maraliz de Castro Vieira (2008).
2556:
2515:
2513:
2511:
2509:
2507:
2505:
2503:
2501:
2499:
2195:. Enciclopédia Itaú Cultural. 9 June 2010.
2147:
2026:
2024:
2022:
2020:
1556:
765:
3191:. No. 8. São Luís. pp. 127–141.
3164:
3015:
3013:
3011:
3009:
3007:
2958:
2820:
2818:
2816:
2788:
2771:
2695:
2676:
2674:
2468:. Companhia das Letras. pp. 120–160.
2411:
2386:
2226:
2145:
2143:
2141:
2139:
2137:
2135:
2133:
2131:
2129:
2127:
2111:Barros, Francisca Argentina Gois (2006).
2106:
2104:
2102:
2100:
2098:
2096:
2094:
2092:
2090:
2088:
2086:
2084:
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2074:
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2066:
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2062:
2018:
2016:
2014:
2012:
2010:
2008:
2006:
2004:
2002:
2000:
1972:
1970:
1488:
1481:, another intellectual, in his 1944 book
1403:A Noite com os gênios do Estudo e do Amor
1385:A Noite com os gênios do Estudo e do Amor
918:escape of the Portuguese family to Brazil
807:, as well as the Italian painters of the
3370:Hunter-Tilney, Ludovic (12 March 2021).
3277:
3275:
3265:Guanabarino, Oscar. "Artes e Artistas".
3180:Silva, Silvano Alves Bezerra da (2011).
3133:, Campinas, n. 3, outubro 2004, pp. 5-12
3107:Videira, Antonio Augusto Passos (2005).
3091:
3082:
3031:. IFHC /Unicamp: 366–374. Archived from
2954:
2952:
2930:"Romanticism in Literature and Politics"
2927:
2921:
2839:
2733:
2713:
2704:
2683:Romanticism, Aesthetics, and Nationalism
2658:
2656:
2654:
2652:
2574:
2572:
2570:
2568:
2528:
2472:
2463:
2446:
2433:
2431:
2382:"Pedro Américo". A União. 24 April 1906.
2351:
2336:
2321:
2268:
2210:
2208:
2206:
2204:
2202:
2120:(Thesis). Universidade Federal do Ceará.
2060:
2058:
2056:
2054:
2052:
2050:
2048:
2046:
2044:
2042:
1968:
1966:
1964:
1962:
1960:
1958:
1956:
1954:
1952:
1950:
1929:
1927:
1925:
1923:
1921:
1919:
1674:Retrato do Conselheiro Filipe Lopes Neto
1397:
1358:
1325:
1285:
1193:
1120:
1038:
1016:
949:
887:
840:
668:
589:
487:
441:
370:
284:
259:
3231:
3155:
3136:
3115:
3106:
2879:
2873:
2748:
2698:História Social da Literatura e da Arte
2606:
2604:
2519:
2496:
2289:
2151:
2030:
830:
227:and a PhD in Natural Sciences from the
3395:
3318:
3216:
3073:
3067:
3019:
3004:
2813:
2680:
2671:
2366:
2322:Oliveira, Vladimir Machado de (2012).
2187:
2185:
2183:
2181:
2179:
2177:
2124:
2110:
1997:
1976:
1933:
1885:
1883:
778:
3296:
3272:
3179:
2995:
2989:
2976:
2974:
2972:
2970:
2949:
2903:
2863:"A missão artística francesa de 1816"
2824:
2649:
2565:
2437:
2428:
2199:
2039:
1947:
1916:
1383:was relentless in his sarcasm. About
1276:
571:After the resounding repercussion of
157:. He did his artistic improvement in
3281:
2662:
2625:
2610:
2601:
2367:Mattos, Cláudia Valladão de (1999).
2352:Oliveira, Lucia Maria Lippi (2008).
1405:, 1883, National Museum of Fine Arts
686:The Academy was restructured as the
364:. At this time, he also visited the
3463:19th-century Brazilian male writers
3448:19th-century Brazilian male artists
3269:. Rio de Janeiro, 1 out. 1894, p. 2
3182:"Uma Batalha em Forma de Biografia"
3092:Carvalho, José Maurício de (2003).
2337:Trevisan, Anderson Ricardo (2009).
2290:Zaccara, Madalena de F. P. (2008).
2174:
1934:Torres, Francisco Tancredo (2011).
1880:
1013:Biblical paintings and other themes
694:(part of a projected series on the
649:, but which earned him praise from
13:
3458:19th-century Brazilian politicians
3319:Flores, Rosali Cristofoli (2010),
3054:"A Ciência e o Sortilégio de Clio"
2996:Leite, Reginaldo da Rocha (2007).
2980:
2967:
2840:Lebreton, Joachim (12 June 1816).
2615:. Wiley-Blackwell. pp. 89–93.
1903:
1501:The first, said to be copied from
134:Pedro Américo de Figueiredo e Melo
14:
3489:
3232:Américo, Pedro (23 August 1884).
3052:Filgueiras, Carlos A. L. (2010).
2860:
2628:The Oxford history of Western art
1906:"Um Século de Pintura: 1816–1916"
1834:Jocabed levando Moisés até o Nilo
1393:Jocabed levando Moisés até o Nilo
1106:Jocabed levando Moisés até o Nilo
624:Jocabed levando Moisés até o Nilo
140:, poet, scientist, art theorist,
3468:19th-century Brazilian novelists
3201:
2959:Pinto Jr., Rafael Alves (2010).
2861:Neves, Lúcia M. B. Pereira das.
2412:Fernandes, Cybele V. F. (2007).
2158:Artes Visuais: Conversando Sobre
1857:
1841:
1825:
1809:
1793:
1777:
1761:
1745:
1729:
1713:
1697:
1681:
1665:
1649:
1633:
1617:
1601:
1539:
1524:
1282:The artist, politics and history
1111:
815:. Some critics also find in him
413:In 1868, he defended the thesis
339:and in the Archeology Course of
219:at the end of the 19th century.
119:
29:
3443:19th-century Brazilian painters
3363:
3345:
3327:
3312:
3297:Paiva, Marco Elízio de (2004).
3290:
3259:
3244:
3225:
3210:
3195:
3100:
2940:
2912:
2897:
2888:
2833:
2804:
2742:
2734:Siqueira, Vera Beatriz (2006).
2689:
2634:
2619:
2550:
2464:Schwarcz, Lília Moritz (1998).
2438:Franz, Teresinha Sueli (2007).
2375:
2360:
2345:
2330:
1588:features one of his paintings.
1371:Between tradition and modernity
867:The genre did not take root in
641:In 1889 he participated in the
2758:Saeculum – Revista de História
2736:"Redescobrir o Rio de Janeiro"
1897:
1597:Pedro Américo's selected works
1146:, approaching the thinking of
753:had ordered to be built it in
1:
3453:Knights of the Holy Sepulchre
3353:"Museu Casa de Pedro Américo"
3202:Maia, Ernesto Gomes Moreira.
3078:. Melhoramentos. p. 312.
2354:Cultura é patrimônio: um guia
1873:
1802:Estudo para Passagem do Chaco
664:
552:plagiarizing the composition
299:Manuel de Araújo Porto-Alegre
255:
155:Imperial Academy of Fine Arts
36:
3423:19th-century Brazilian poets
3111:. Abstracta. pp. 70–83.
3020:Saliba, Elias Thomé (2007).
3000:. Rio de Janeiro: 19&20.
2985:. Rio de Janeiro: 19&20.
2963:. Rio de Janeiro: 19&20.
2884:. Rio de Janeiro: 19&20.
2847:. Rio de Janeiro: 19&20.
2524:. Rio de Janeiro: 19&20.
2492:. Rio de Janeiro: 19&20.
2442:. Rio de Janeiro: 19&20.
2341:. Rio de Janeiro: 19&20.
2326:. Rio de Janeiro: 19&20.
2216:"Américo, Pedro (1843–1905)"
1026:National Museum of Fine Arts
760:
737:, and under the care of the
688:National School of Fine Arts
250:
233:Imperial and National Museum
7:
3438:École des Beaux-Arts alumni
3403:Brazilian romantic painters
3123:"Pedro Américo romancista:
2981:Sá, Ivan Coelho de (2009).
2681:Kaiser, David Aram (1999).
2641:Tarasantichi, Ruth (2002).
894:Marriage of Princess Isabel
245:Order of the Holy Sepulchre
229:Free University of Brussels
10:
3494:
3217:Freire, Laudelino (1917).
2696:Hauser, Arnold (1980–82).
2152:Zaccara, Madalena (2008).
2031:Machado, Vladimir (2006).
1722:Auto-retrato aos onze anos
1591:
834:
698:that he did not perform),
505:Ataque à Ilha do Carvoeiro
2928:Izenberg, Gerald (2005).
2613:A companion to art theory
1977:Lobato, Monteiro (2011).
1549:(1888), by Pedro Américo.
1189:
1117:Essays and critical texts
1048:São Paulo Picture Gallery
747:São João Batista Cemetery
547:Surprisingly, art critic
438:Return to Brazil and fame
127:
118:
113:
109:
101:
75:
46:
28:
21:
3478:Brazilian male novelists
3156:Quírico, Tamara (2006).
3074:Donato, Hernâni (2005).
2880:Cardoso, Rafael (2008).
2667:. SENAC. pp. 88–99.
2520:Cardoso, Rafael (2007).
1301:Um Milionário de Glórias
322:Sébastien-Melchior Cornu
1866:Dona Catarina de Ataíde
1557:Decorations and homages
1547:Independência ou Morte!
1515:Independência ou Morte!
1499:Independência ou Morte!
1450:Independência ou Morte!
1433:Independência ou Morte!
1425:Batalha de Campo Grande
1184:Discursos Parlamentares
1090:Os filhos de Eduardo IV
1003:Tiradentes Esquartejado
991:Tiradentes Esquartejado
987:Libertação dos Escravos
983:Independência ou Morte!
971:Batalha de Campo Grande
955:Libertação dos Escravos
878:French Artistic Mission
850:Mariano Procópio Museum
766:Context and academicism
700:Libertação dos escravos
696:Minas Gerais Conspiracy
692:Tiradentes esquartejado
655:Académie des Beaux-Arts
647:Independência ou Morte!
636:Independência ou Morte!
620:Dona Catarina de Ataíde
616:Os filhos de Eduardo IV
519:, which was painted in
471:Batalha do Campo Grande
447:Batalha de Campo Grande
289:Self-portrait at age 11
200:Tiradentes Esquartejado
195:Independência ou Morte!
1893:. UFJF. 7 August 2017.
1534:(1875), by Meissonier.
1489:Plagiarism accusations
1463:
1446:
1417:
1406:
1367:
1349:
1334:
1295:
1274:
1257:
1243:
1203:
1168:
1126:
1065:
1050:
1028:
961:
910:Nicolas-Antoine Taunay
900:
852:
678:
643:Exposition Universelle
598:
496:
453:
449:, 1871, depicting the
432:Cabeça de São Jerônimo
379:
308:, being a disciple of
290:
265:
3234:"Cartas de um Pintor"
3219:"A Pintura no Brasil"
3121:Vermeersch, Paula F.
2918:Schwarcz, pp. 205-267
2894:Schwarcz, pp. 215-234
2810:Schwarcz, pp. 189-216
2767:on 20 September 2010.
2626:Kemp, Martín (2000).
2371:. EdUSP. p. 117.
1454:
1437:
1408:
1401:
1362:
1340:
1329:
1290:Self-portrait, 1877,
1289:
1265:
1248:
1234:
1197:
1160:
1124:
1056:
1042:
1020:
953:
891:
861:divine right of kings
844:
672:
653:and admission to the
593:
577:Batalha de 24 de Maio
566:Batalha de Guararapes
538:Batalha de Guararapes
491:
482:Luís Guimarães Júnior
445:
374:
288:
263:
182:Academicism in Brazil
3473:Brazilian male poets
2663:Coli, Jorge (2005).
2645:. EDUSP. p. 16.
2643:Pintores paisagistas
1912:on 9 September 2012.
1507:Battle of Montebello
1483:Pintura quase sempre
941:maturity of Pedro II
906:Jean-Baptiste Debret
876:, the leader of the
846:Quartered Tiradentes
831:Historical paintings
585:Battle of San Marino
400:Grand Duchy of Baden
341:Charles Ernest Beulé
306:École des Beaux-Arts
3433:People from Paraíba
3286:. pp. 113–127.
3038:on 1 December 2017.
2946:Hauser, pp. 826-871
2908:. São Paulo: Ática.
2800:. Fortaleza: ANPUH.
2718:. pp. 109–127.
2369:O Brado do Ipiranga
1980:Ideias de Jeca Tatu
1904:Freire, Laudelino.
1511:Battle of Friedland
1505:'s painting on the
959:Bandeirantes Palace
779:Style and technique
739:Baron of Rio Branco
731:President of Brazil
681:After the Republic
673:Cover of the novel
556:by Italian painter
554:Battle of Montebelo
3323:, UFPB, p. 29
3238:Gazeta de Notícias
2222:on 19 August 2007.
1706:Fausto e Margarida
1407:
1368:
1335:
1296:
1277:Critical reception
1204:
1127:
1094:A rabequista árabe
1078:Abelardo e Heloísa
1051:
1029:
962:
901:
853:
801:Théodore Géricault
679:
612:A rabequista árabe
599:
595:A rabequista árabe
497:
480:At the same time,
454:
428:Visão de São Paulo
380:
330:Théodore Géricault
318:Hippolyte Flandrin
291:
266:
3308:. Belo Horizonte.
2035:. Rio de Janeiro.
1850:O Voto de Heloísa
1570:was printed on a
1475:José Lins do Rego
1177:Correio Mercantil
1086:O Voto de Heloísa
793:Antoine-Jean Gros
651:Ernest Meissonier
513:Passagem do Chaco
451:homonymous battle
389:Correio Mercantil
366:Salon des Refusés
357:Collège de France
241:Order of the Rose
217:Brazilian culture
146:academic painters
131:
130:
3485:
3387:
3386:
3384:
3382:
3367:
3361:
3360:
3359:on 8 March 2016.
3349:
3343:
3342:
3341:. 10 April 2012.
3331:
3325:
3324:
3316:
3310:
3309:
3303:
3294:
3288:
3287:
3284:Projeto História
3279:
3270:
3263:
3257:
3256:
3248:
3242:
3241:
3229:
3223:
3222:
3214:
3208:
3207:
3199:
3193:
3192:
3186:
3177:
3162:
3161:
3153:
3134:
3119:
3113:
3112:
3104:
3098:
3097:
3089:
3080:
3079:
3071:
3065:
3064:
3058:
3049:
3040:
3039:
3037:
3026:
3017:
3002:
3001:
2993:
2987:
2986:
2978:
2965:
2964:
2956:
2947:
2944:
2938:
2937:
2936:on 4 March 2016.
2925:
2919:
2916:
2910:
2909:
2901:
2895:
2892:
2886:
2885:
2877:
2871:
2870:
2858:
2849:
2848:
2846:
2837:
2831:
2830:
2822:
2811:
2808:
2802:
2801:
2795:
2786:
2769:
2768:
2766:
2755:
2746:
2740:
2739:
2731:
2720:
2719:
2711:
2702:
2701:
2693:
2687:
2686:
2678:
2669:
2668:
2660:
2647:
2646:
2638:
2632:
2631:
2623:
2617:
2616:
2608:
2599:
2598:
2592:
2584:
2576:
2563:
2562:
2554:
2548:
2547:
2539:
2526:
2525:
2517:
2494:
2493:
2485:
2470:
2469:
2461:
2444:
2443:
2435:
2426:
2425:
2409:
2384:
2383:
2379:
2373:
2372:
2364:
2358:
2357:
2349:
2343:
2342:
2334:
2328:
2327:
2319:
2296:
2295:
2287:
2266:
2265:
2264:. pp. 9–52.
2257:
2224:
2223:
2212:
2197:
2196:
2189:
2172:
2171:
2149:
2122:
2121:
2119:
2108:
2037:
2036:
2028:
1995:
1994:
1983:. Globo Livros.
1974:
1945:
1944:
1942:
1931:
1914:
1913:
1908:. Archived from
1901:
1895:
1894:
1887:
1861:
1845:
1829:
1813:
1797:
1781:
1765:
1749:
1733:
1717:
1701:
1685:
1669:
1653:
1637:
1621:
1605:
1581:As Days Get Dark
1543:
1528:
1503:Giovanni Fattori
1261:Na Cidade Eterna
874:Joachim Lebreton
837:History painting
819:influences from
797:Eugène Delacroix
724:Na Cidade Eterna
581:Battle of Tuyutí
542:Victor Meirelles
459:A Comédia Social
422:. The paintings
279:Pedro II College
123:
95:Kingdom of Italy
82:
69:Empire of Brazil
56:
54:
41:
38:
33:
19:
18:
3493:
3492:
3488:
3487:
3486:
3484:
3483:
3482:
3393:
3392:
3391:
3390:
3380:
3378:
3376:Financial Times
3368:
3364:
3351:
3350:
3346:
3333:
3332:
3328:
3317:
3313:
3301:
3295:
3291:
3280:
3273:
3264:
3260:
3249:
3245:
3230:
3226:
3215:
3211:
3200:
3196:
3184:
3178:
3165:
3154:
3137:
3120:
3116:
3105:
3101:
3090:
3083:
3072:
3068:
3056:
3050:
3043:
3035:
3024:
3018:
3005:
2994:
2990:
2979:
2968:
2957:
2950:
2945:
2941:
2926:
2922:
2917:
2913:
2906:A forma difícil
2902:
2898:
2893:
2889:
2878:
2874:
2869:on 10 May 2018.
2859:
2852:
2844:
2838:
2834:
2823:
2814:
2809:
2805:
2793:
2787:
2772:
2764:
2753:
2747:
2743:
2732:
2723:
2712:
2705:
2694:
2690:
2679:
2672:
2661:
2650:
2639:
2635:
2624:
2620:
2609:
2602:
2586:
2585:
2577:
2566:
2555:
2551:
2540:
2529:
2518:
2497:
2486:
2473:
2462:
2447:
2436:
2429:
2410:
2387:
2381:
2380:
2376:
2365:
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2350:
2346:
2335:
2331:
2320:
2299:
2288:
2269:
2258:
2227:
2214:
2213:
2200:
2191:
2190:
2175:
2168:
2150:
2125:
2117:
2109:
2040:
2029:
1998:
1991:
1975:
1948:
1940:
1932:
1917:
1902:
1898:
1889:
1888:
1881:
1876:
1869:
1868:
1862:
1853:
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1750:
1741:
1740:
1734:
1725:
1724:
1718:
1709:
1708:
1702:
1693:
1692:
1690:Paz e Concórdia
1686:
1677:
1676:
1670:
1661:
1660:
1654:
1645:
1644:
1638:
1629:
1628:
1622:
1613:
1612:
1606:
1594:
1559:
1554:
1553:
1552:
1551:
1550:
1544:
1536:
1535:
1529:
1495:Batalha do Avaí
1491:
1471:Gilberto Freyre
1429:Batalha do Avaí
1381:Angelo Agostini
1377:Batalha do Avaí
1373:
1364:Batalha do Avaí
1332:Batalha do Avaí
1284:
1279:
1206:His novels are
1192:
1119:
1114:
1102:Visão de Hamlet
1044:Visão de Hamlet
1015:
999:Paz e Concórdia
979:Batalha do Avaí
945:Batalha do Avaí
898:Imperial Museum
839:
833:
805:François Gérard
781:
768:
763:
735:Rodrigues Alves
708:Paz e Concórdia
667:
659:Charles Garnier
579:, depcting the
573:Batalha de Avaí
564:or Meirelles's
562:Batalha de Avaí
530:statue of David
517:Batalha de Avaí
509:Passo da Pátria
440:
353:Michael Faraday
258:
253:
186:Batalha de Avaí
97:
84:
80:
71:
58:
52:
50:
42:
39:
24:
17:
12:
11:
5:
3491:
3481:
3480:
3475:
3470:
3465:
3460:
3455:
3450:
3445:
3440:
3435:
3430:
3425:
3420:
3415:
3410:
3405:
3389:
3388:
3362:
3344:
3326:
3311:
3289:
3271:
3258:
3243:
3224:
3209:
3194:
3163:
3135:
3114:
3099:
3081:
3066:
3041:
3003:
2988:
2966:
2948:
2939:
2920:
2911:
2896:
2887:
2872:
2850:
2832:
2812:
2803:
2770:
2741:
2721:
2703:
2688:
2670:
2648:
2633:
2618:
2600:
2564:
2549:
2527:
2495:
2471:
2445:
2427:
2385:
2374:
2359:
2344:
2329:
2297:
2267:
2225:
2198:
2173:
2166:
2123:
2038:
1996:
1989:
1946:
1915:
1896:
1878:
1877:
1875:
1872:
1871:
1870:
1864:
1863:
1856:
1854:
1848:
1847:
1840:
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1831:
1824:
1822:
1816:
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1598:
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1558:
1555:
1545:
1538:
1537:
1530:
1523:
1522:
1521:
1520:
1519:
1490:
1487:
1479:Sérgio Milliet
1372:
1369:
1283:
1280:
1278:
1275:
1230:Joaquim Nabuco
1208:ultra-romantic
1202:, 1882 edition
1191:
1188:
1152:Jules Michelet
1118:
1115:
1113:
1110:
1014:
1011:
995:Honra e Pátria
892:Study for the
869:Baroque Brazil
835:Main article:
832:
829:
780:
777:
767:
764:
762:
759:
704:Honra e Pátria
683:was proclaimed
666:
663:
632:Amor de Esposo
558:Andrea Appiani
467:Paraguayan War
439:
436:
398:, then to the
349:Claude Bernard
275:Rio de Janeiro
257:
254:
252:
249:
129:
128:
125:
124:
116:
115:
111:
110:
107:
106:
103:
102:Known for
99:
98:
85:
83:(aged 62)
79:7 October 1905
77:
73:
72:
59:
48:
44:
43:
34:
26:
25:
22:
15:
9:
6:
4:
3:
2:
3490:
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3404:
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3400:
3398:
3377:
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3366:
3358:
3354:
3348:
3340:
3336:
3330:
3322:
3315:
3307:
3300:
3293:
3285:
3278:
3276:
3268:
3262:
3254:
3247:
3239:
3235:
3228:
3220:
3213:
3205:
3198:
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3183:
3176:
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3023:
3016:
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2999:
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2596:
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2500:
2491:
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2478:
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2415:
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2263:
2256:
2254:
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2250:
2248:
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2240:
2238:
2236:
2234:
2232:
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2221:
2217:
2211:
2209:
2207:
2205:
2203:
2194:
2188:
2186:
2184:
2182:
2180:
2178:
2169:
2167:9788573155112
2163:
2159:
2155:
2148:
2146:
2144:
2142:
2140:
2138:
2136:
2134:
2132:
2130:
2128:
2116:
2115:
2107:
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2047:
2045:
2043:
2034:
2027:
2025:
2023:
2021:
2019:
2017:
2015:
2013:
2011:
2009:
2007:
2005:
2003:
2001:
1992:
1990:9788525049988
1986:
1982:
1981:
1973:
1971:
1969:
1967:
1965:
1963:
1961:
1959:
1957:
1955:
1953:
1951:
1939:
1938:
1937:Pedro Américo
1930:
1928:
1926:
1924:
1922:
1920:
1911:
1907:
1900:
1892:
1886:
1884:
1879:
1867:
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1604:
1599:
1596:
1595:
1589:
1587:
1583:
1582:
1577:
1573:
1569:
1568:Fala do Trono
1565:
1548:
1542:
1533:
1527:
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1500:
1496:
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1213:
1209:
1201:
1196:
1187:
1185:
1180:
1178:
1174:
1167:
1166:
1159:
1157:
1153:
1149:
1148:Victor Cousin
1145:
1141:
1140:Sílvio Romero
1137:
1133:
1123:
1112:Written works
1109:
1107:
1103:
1099:
1095:
1091:
1087:
1083:
1079:
1075:
1071:
1064:
1062:
1055:
1049:
1045:
1041:
1037:
1035:
1034:Old Testament
1027:
1023:
1019:
1010:
1008:
1004:
1000:
996:
992:
988:
984:
980:
976:
975:Fala do Trono
972:
968:
960:
956:
952:
948:
946:
942:
937:
933:
931:
927:
923:
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847:
843:
838:
828:
826:
822:
818:
814:
810:
806:
802:
798:
794:
790:
789:Horace Vernet
785:
776:
772:
758:
756:
752:
748:
744:
740:
736:
732:
727:
725:
722:in 1899, and
721:
716:
711:
709:
705:
701:
697:
693:
689:
684:
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582:
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574:
569:
567:
563:
559:
555:
550:
549:Gonzaga Duque
545:
543:
539:
535:
531:
527:
522:
518:
514:
510:
506:
502:
501:Fala do Trono
494:
493:Fala do Trono
490:
486:
483:
478:
476:
472:
468:
462:
460:
452:
448:
444:
435:
433:
429:
425:
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405:
401:
397:
392:
390:
386:
377:
373:
369:
367:
363:
358:
354:
350:
346:
345:Victor Cousin
342:
338:
337:Adolphe Ganot
333:
331:
327:
323:
319:
315:
311:
307:
302:
300:
296:
295:papa-medalhas
287:
283:
280:
276:
270:
262:
248:
246:
242:
238:
234:
230:
226:
220:
218:
213:
207:
205:
201:
197:
196:
191:
190:Fala do Trono
187:
183:
179:
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171:
166:
164:
160:
156:
152:
147:
143:
139:
135:
126:
122:
117:
112:
108:
104:
100:
96:
92:
88:
78:
74:
70:
66:
62:
57:29 April 1843
49:
45:
32:
27:
23:Pedro Américo
20:
3408:Academic art
3381:19 September
3379:. Retrieved
3375:
3365:
3357:the original
3347:
3338:
3329:
3320:
3314:
3305:
3292:
3283:
3266:
3261:
3252:
3246:
3237:
3227:
3212:
3206:. 19&20.
3197:
3188:
3160:. 19&20.
3130:
3125:O Holocausto
3124:
3117:
3108:
3102:
3093:
3075:
3069:
3060:
3033:the original
3028:
2991:
2942:
2934:the original
2923:
2914:
2905:
2899:
2890:
2875:
2867:the original
2835:
2826:
2806:
2797:
2762:the original
2757:
2744:
2738:. 19&20.
2715:
2697:
2691:
2682:
2664:
2642:
2636:
2627:
2621:
2612:
2580:
2558:
2552:
2546:. 19&20.
2465:
2421:
2417:
2377:
2368:
2362:
2353:
2347:
2332:
2294:. 19&20.
2261:
2220:the original
2157:
2113:
1979:
1936:
1910:the original
1899:
1865:
1849:
1833:
1817:
1801:
1785:
1770:Cristo Morto
1769:
1754:Cavalo Morto
1753:
1737:
1721:
1705:
1689:
1673:
1657:
1641:
1625:
1609:
1579:
1567:
1560:
1546:
1531:
1514:
1498:
1494:
1492:
1482:
1468:
1464:
1457:
1455:
1449:
1447:
1440:
1438:
1432:
1428:
1424:
1422:
1418:
1411:
1409:
1402:
1392:
1388:
1384:
1376:
1374:
1363:
1354:
1350:
1343:
1341:
1336:
1331:
1321:
1317:
1300:
1297:
1268:
1266:
1260:
1258:
1251:
1249:
1244:
1237:
1235:
1225:
1221:
1215:
1205:
1199:
1183:
1181:
1176:
1172:
1169:
1163:
1161:
1156:Edgar Quinet
1131:
1128:
1105:
1101:
1097:
1093:
1089:
1085:
1081:
1077:
1073:
1069:
1066:
1059:
1057:
1052:
1043:
1030:
1021:
1002:
998:
994:
990:
986:
982:
978:
974:
970:
966:
963:
954:
944:
938:
934:
914:
902:
893:
866:
857:
854:
845:
809:Risorgimento
786:
782:
773:
769:
728:
723:
719:
715:Encilhamento
712:
707:
703:
699:
691:
680:
674:
646:
640:
635:
631:
628:
623:
619:
615:
611:
607:
603:
600:
594:
584:
576:
572:
570:
565:
561:
553:
546:
537:
526:Michelangelo
516:
512:
508:
504:
500:
498:
492:
479:
470:
463:
458:
455:
446:
431:
427:
423:
414:
412:
407:
403:
393:
388:
384:
381:
375:
334:
314:Léon Cogniet
303:
294:
292:
271:
267:
221:
212:avant-gardes
208:
199:
193:
189:
185:
170:neoclassical
167:
133:
132:
81:(1905-10-07)
3418:1905 deaths
3413:1843 births
1576:João Pessoa
1144:eclecticism
1007:Pompier art
813:Luigi Bechi
743:João Pessoa
475:Count of Eu
362:Renaissance
40: 1871
3397:Categories
2262:O Foragido
1874:References
1586:Arab Strap
1226:Holocausto
1222:Holocausto
1200:Holocausto
1136:positivism
821:Borgognone
811:, such as
720:O Foragido
675:O Foragido
665:Last years
424:São Marcos
404:Holocausto
396:Strasbourg
326:Guido Reni
256:Early life
237:Pernambuco
53:1843-04-29
3240:(236): 1.
2589:cite book
2418:19&20
1658:A carioca
1564:William I
1212:manichean
1198:Cover of
1074:A Carioca
926:abdicated
761:Paintings
726:in 1901.
408:A Carioca
251:Biography
178:realistic
151:northeast
114:Signature
35:Américo,
2716:Penélope
1572:Telebrás
1046:, 1893,
1024:, 1879,
957:, 1889,
896:, 1864,
848:, 1893,
521:Florence
243:and the
225:Sorbonne
204:oriental
174:romantic
163:Pedro II
142:essayist
138:novelist
105:Painting
87:Florence
3131:Rotunda
1592:Gallery
1294:Gallery
930:regency
922:Pedro I
882:John VI
825:Bernini
817:Baroque
420:Pius IX
355:at the
91:Tuscany
65:Paraíba
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1190:Novels
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534:Uffizi
378:, 1861
310:Ingres
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