A Xilogravura Popular, xilográfos e poetas de cordel

A rigidez da madeira é moldada e se torna maleável para acomodar a poesia. Os talhos se transformam em animais, em gente e em cenários imaginários. Assim, nasce o casamento da xilogravura com a literatura de Cordel, que narra a criatividade do imaginário do nordeste brasileiro. Com a intenção de apresentar essa técnica de ilustração, que chegou ao Brasil no século 19, Brasília será a sede da exposição A Xilogravura Popular, xilográfos e poetas de cordel, em cartaz no Museu Nacional da República de 27 de novembro de 2018 a 10 de fevereiro de 2019.

A mostra estreia na capital federal e reúne cerca de 300 xilogravuras, além de matrizes de xilogravuras e álbuns de Cordel, que recontam um pouco da trajetória dessa arte popular. A maioria das obras, no entanto, são ilustrações independentes da literatura e surgiram, justamente, quando essa arte passou a despertar o interesse dos intelectuais e artistas modernos e ganharam brilho próprio.

O público terá acesso a peças de acervos pessoais e de museus, assinadas por gravadores, poetas e cordelistas renomados como Ariano Suassuna, Dila, Jota Borges, Samico, Mestre Noza, Palito, entre outros. Elas estarão reunidas pelas diferentes temáticas que representam, como costumes populares; cenas religiosas – milagres e crenças; bichos fantásticos – dragões, leão alado, pavão misterioso –; além de romances e aventuras do cangaço. Trechos das histórias de Cordel também serão apresentados ao público, assim como as narrativas dos cantadores e dos repentistas.

SERVIÇO:

Data: 27/11/2018 a 10/02/2019.

Local: Museu Nacional da República – Brasília – DF
Setor Cultural Sul, lote 2
(Próximo à Rodoviária do Plano Piloto)
Horário: terça a domingo, de 9h às 18h30.

Entrada franca

Classificação indicativa livre

Informações: (61) 3325-5220

#minc #eletrobras #secretariaculturadf #museunacional #galeriapontes #governobrasilia #governofederal #ednamatosinho #artepopular #artepopularbrasileira

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Galeria Naiva (Romanian Journal of Naïve Art)
7th issue, nº 4, page 28/ winter 2017

Translated from Romanian by Nina Vaisman

This is a memorable display of Brazilian Naïve Art. An adage states that: “Beauty pleases God as well”. This is what happens to many of us who, although acting in other fields, are inclined towards the creative artistic side, and,unable to be creators, collect different art objects.

This passion of gathering things that delight the eyes often gives rise to private art collections, which in time become public.These passionate beauty lovers become art collectors who help preserve and promote artistic values.

Edna Matosinho de Pontes (photo), born in January 22, 1948, in Ourinhos, São Paulo State, fits into this role role of guardian of artistic values.Despite having studied Psychology and Marketing, professions she always practiced, she was attracted by the fascinating world of the arts, lending her loving participation to cultural manifestations. As time went by, she started to acquire art work and, from 1974 on, she was very attracted to naïve art. Thus, she became a passionate collector who shared her passion with people interested in the arts,openingthe virtual Galeria Pontes in 2008.

In pursuing her dream further, with the realization that the cultural space she set up was restricted to a small group of people, and desiring to turn more concrete her passion, Edna Matosinho de Pontes began a long journey of research into Brazilian folk art, visiting several regions of the Brazilian territory, coming into direct contact with thesecreators of Beauty.

After six years of study on this delicate but wonderful field of naïve art, she managed to fulfill her dream, publishing “Eu me ensinei” (“I taught myself”), an importantdocument of authentic Brazilian naïve art.

The book of 460 pages presents true testimonies on the creations of the 78 self-taught artists, selected by the author among all fields of popular art such as painting, sculpture and ceramics. Edna crossed, one by one, 12 Brazilian states from the Southeast to the North of Brazil, talking to each one of the creators who reveal in the pages of the book the little secrets that are at the base of their works. Thus, the book becomes a document of Brazilian cultural identity in which Edna, through her passion for the preservation of authenticity, enhances the most important testimonies of tradition and customs.

By exploring in depth the world of the autonomous uneducated creators, the author discovers the fascination of messages conveyed by means of color and three-dimensional forms. Thumbingthrough the book, we tread into a distant Brazil, discovering a world full of highly expressive characters that seem to be talking directly to you, telling of a dream world that lies beyond the seas and the whole wide ocean.

Costel Iftinchi

Lucília Harrington, secretary of the Brazilian embassy in Washington, delivering the book “I taught myself” in the Library of Congress to be part of the Spanic Division. The beautiful mural in the background is Portinari.