In the context of a need for finding and enabling alternatives to unequal and extractivist perspectives on development, growth, and human well-being, this positioning paper explores possibilities for STEAM (science, technology, engineering, arts, and mathematics) education with an education for sustainable development focus that counters disciplinary alienations particularly between the arts and the STEM (science, technology, engineering and mathematics) disciplines. The paper argues that unnecessary alienations between cultural-emblematic and mathematical-logical epistemes, especially those linked to narrow interpretations and restricted developments in dialogism and dialectics, respectively, are influenced by restricted understandings of epistemological, ontological, and praxiological philosophical drivers in meaning making and responsive action. In response, the paper develops a series of philosophical principles that, it argues, could usefully underpin STEAM education practices. These are a) iterations of epistemological expansion and contraction (in response to monologic meaning making), b) an expansive and deepening ontology (in response to ontological collapse in describing the world), c) critical and judgmental rationality (finding a middle ground between radical relativism and dogma), and d) concrete utopianism (in response to idealism and additive holisticism). The emergence of the four philosophical principles is developed through illustrative examples of a broad range of arts (fine art, performance art, photography, film, poetry, prose, and music).

RESUMEN Se caracteriza el estado de desarrollo técnico y científico de las Ciencias de la Información en la actualidad, teniendo como ejemplo los modelos teóricos que evidencian su surgimiento, desarrollo y evolución, centrando la atención en el impacto social que tiene su nexo con el Arte. En el trabajo se aborda el objeto social de esta Ciencia, que puede ser vinculada con la Historia del Arte, para propósitos conjuntos. El objetivo del presente estudio es fundamentar desde la perspectiva Ciencia, Tecnología, Sociedad e Innovación (CTS+I), la necesidad de elaborar una propuesta de requisitos para la representación de información de las obras de arte del Museo Nacional de Bellas Artes de Cuba, como instrumento de valor social de las relaciones arte-gestión documental. Por último, se analiza el carácter ético-profesional, así como la responsabilidad y compromiso social que supone establecer las correlaciones de la Ciencia y el Arte en un espacio de institucionalización museística.

ABSTRACT The state of technical and scientific development of Information Sciences today is characterized, taking as an example the theoretical models that evidence its emergence, development and evolution, focusing attention on the social impact that its connection with Art has. The work addresses the social purpose of this Science, which can be linked to the History of Art, for joint purposes. The objective of this study is to substantiate, from the perspective of Science, Technology, Society and Innovation (STS+I), the need to develop a proposal of requirements for the representation of information about the works of art of the National Museum of Fine Arts of Cuba, as an instrument of social value of art-document management relationships. Finally, the ethical-professional nature is analyzed, as well as the responsibility and social commitment involved in establishing the correlations of Science and Art in a space of museum institutionalization.

Abstract: This article refers to historical and institutional issues of the plastic arts in the Chaco from the reconstruction of the first areas of sociability, exhibition and circulation of art, to the creation of the “René Brusau” Provincial Museum of Fine Arts (Chaco, Argentina). The work aims to make known the circumstances of the creation of the museum, its influence and impact on the Chaco artistic field and the conformation of its patrimonial collection during the four decades of institutional life. Due to its provincial nature, the museum's founding mission was the development of research, conservation policies and dissemination of the Chaco heritage and all artistic activity in the region. Based on the analysis of the documentary corpus, the objective of the work was to examine the conditions that promoted the creation of the museum, analyze the dynamics of conformation and the processes of patrimonialization of the artistic collection within the context of cultural management policies.

Resumen: Este artículo refiere a cuestiones históricas e institucionales de las artes plásticas en el Chaco desde la reconstrucción de los primeros ámbitos de sociabilidad, exhibición y circulación de arte, hasta la creación del Museo Provincial de Bellas Artes “René Brusau” (Chaco, Argentina). El trabajo pretende dar a conocer las circunstancias de creación del museo, su influencia e impacto en el campo artístico chaqueño y la conformación de su colección patrimonial durante las cuatro décadas de vida institucional. Por su carácter provincial, el museo tuvo como misión fundacional el desarrollo de la investigación, las políticas de conservación y difusión del patrimonio del Chaco y de toda la actividad artística de la región. A partir del análisis del corpus documental, el objetivo del trabajo fue examinar las condiciones que promovieron la creación del museo, analizar la dinámica de conformación y los procesos de patrimonialización de la colección artística en el contexto de las políticas de gestión cultural.

Resumo Este artigo dá notoriedade a quatro conferências proferidas pelo paisagista Roberto Burle Marx enquanto membro do Conselho Federal de Cultura, representando a Câmara de Artes, entre os anos de 1967 e 1974. Essas conferências são fontes primárias que refletem o lado conservacionista de Burle Marx e a sua preocupação com a preservação da paisagem brasileira, ao constatar, durante suas viagens e excursões botânicas, a destruição das florestas ante o desenvolvimento urbano desordenado e o descaso com os jardins públicos. Composto pela transcrição destas conferências, organizadas em ordem cronológica, e antecedida por uma sessão de comentário realizado a partir da interpretação do pensamento discorrido nos documentos, este artigo tem como objetivo demonstrar que Burle Marx não se destaca apenas pelas suas obras artísticas – projetos paisagísticos e artes plásticas –, que o tornaram mundialmente conhecido e até hoje estudado, mas também como ativista ambiental na defesa da paisagem brasileira e, portanto, na preservação do patrimônio cultural e natural do Brasil. Cultura Artes 196 1974 constatar botânicas públicos cronológica documentos estudado portanto Brasil 19 197 1

Abstract This article highlights four lectures given by the landscape architect Roberto Burle Marx as a member of the Federal Council of Culture, representing the Chamber of Arts, between 1967 and 1974. These lectures are primary sources that reflect the conservationist side of Burle Marx and his concern with preserving the Brazilian landscape after observing the destruction of forests in the face of disorderly urban development and neglect of public gardens during his travels and botanical excursions. Here these lectures are transcribed, organized chronologically, and preceded by commentary based on interpretations of the thoughts expressed in these documents; the objective is to demonstrate that Burle Marx is not only notable for his artistic work (in landscaping projects and the fine arts), for which he became known worldwide and is still studied today, but also as an environmental activist in defense of the Brazilian landscape and consequently the preservation of Brazil’s cultural and natural heritage. Culture Arts 196 1974 excursions transcribed chronologically documents arts, arts , arts) today Brazils Brazil s heritage 19 197 1

Resumen Este estudio se llevó a cabo en la Institución Educativa de Educación Superior del Presupuesto Federal del Estado Academia Estatal de Cultura y Artes de Lugansk que lleva el nombre de Mijail Matusovsky en la Facultad de Bellas Artes y Artes Aplicadas en el Departamento de Diseño Gráfico y el Departamento de Pintura de Caballete, así como en la Escuela Superior de Tecnología y Diseño de Lugansk. El objetivo del estudio es proponer un modelo pedagógico para el desarrollo del pensamiento artístico e imaginativo y, en particular, la aplicación activa del método de estilización en el proceso educativo. Se utilizó un método estratométrico para muestrear los grupos de trabajo. Participaron en el experimento ocho grupos de estudio con determinadas características. Cada grupo estaba formado por 16 personas. El estudio reveló los experimentos que se utilizaron para poner en práctica la metodología de trabajo, identificando las habilidades y la visión artística en los estudiantes, estos son experimentos de búsqueda y transformación, constatación, formación y control. Asimismo, se llevaron a cabo el análisis y las características comparativas de la etapa inicial y la etapa final del experimento, cuyos resultados se muestran, lo que demuestra la eficacia del método y el modelo pedagógico metódico. Se concluye sobre la necesidad de introducir nuevos métodos en el proceso educativo y su aplicación en las disciplinas del ciclo artístico. Se recomienda analizar un objeto, descomponerlo en componentes simples y encontrar así su formación estructural. El resultado es una obra de arte con contenido interno.

Abstract This investigation was conducted at the Lugansk State Academy of Culture and Arts named after Mikhail Matusovsky at the Faculty of Fine and Applied Arts at the Department of Graphic Design and Department of Easel Painting, as well as the Lugansk College of Technology and Design. The research aimed to propose a pedagogical model for the development of artistic and imaginative thinking and, in particular, the active implementation of the stylization of artistic method in the educational process. The researcher employed a stratometric method to sample the working groups. Eight study groups, of 16 people each one, with certain characteristics participated in the experiment. The study revealed the experiments that were used to implement the work methodology, identifying abilities and artistic vision of students it is search-and-transform, ascertaining, forming, and control experiments. Also, the analysis and comparative characteristics of the initial stage and the final stage of the experiment were carried out, the results of which are shown, which prove the effectiveness of the method and pedagogical methodical model. Finally, as a conclusion, the author refers to the need to introduce new methods in the educational process and their application in the disciplines of the artistic cycle. Moreover, it is recommended to analyze an object and to decompose it into simple components, thereby finding its structure formation. The result will be the creation of a work of art that is endowed with inner content.

ABSTRACT George Grosz (1893-1959) started his career as a visual artist during the years of First World War. As a member of Dada Club of Berlin, his work adopted some of the main claims of this vanguardist group, especially the awareness of present time and the displacement of fine arts in respect of massive and popular arts. From this point of view, his graphic production was aimed as caricaturesque, satirical and shocking, driving his aesthetic towards the complex of terror, laugh and disgust only balanced by grotesque logics. This paper selected the first period of his career, with prevailing interest in the imaginary of First World War expressed as grotesque graphic panoramas.

RESUMEN George Grosz (1893-1959) comenzó su carrera como artista visual durante los años de la Primera Guerra Mundial. Como miembro del Club Dadá de Berlín, su obra adoptó algunos de los principales reclamos de este grupo vanguardista, especialmente la conciencia del tiempo presente y el desplazamiento de las bellas artes en favor de las artes populares y masivas. Desde este punto de vista, su producción gráfica se reveló como caricaturesca, satírica y shockeante, conduciendo su estética hacia el complejo de terror, risa y disgusto que solo balancea la lógica del Grotesco. Este artículo seleccionó el primer período de su carrera, con interés destacado en el imaginario de la Primera Guerra Mundial expresado como panoramas gráficos grotescos.

Resumo Este artigo explora e analisa una sessão da revista Arquitetura, publicada pela Sociedade de Arquitetos do Uruguay (SAU), focando nos desafios disciplinares que surgiram entre 1914 e 1940. Embora 1914 corresponda ao ano da fundação da SAU e o começo da Primeira Guerra Mundial em nível internacional, 1940 não representa um ponto de inflexão relevante, porem coincide —aproximadamente — com a construção da nova sede da Faculdade de Arquitetura e o recrudescimento da Segunda Guerra Mundial, iniciada em 1939. Durante este período, a arquitetura uruguaia evidenciou uma notável inclinação pelo movimento moderno. Dos diversos temas tratados na revista foram selecionados cinco, pela sua frequência, clareza e relevância. Estes temas são: o ensino, a consolidação de uma corporação profissional, a passagem das Belas Artes à Modernidade, os desafios da moradia e o debate sobre o urbanismo como disciplina, colocando especial atenção as visitas internacionais. A pesar de que a análise de estes tópicos é breve, o objetivo do artigo é identificar as principais correntes de debate desde una perspectiva crítica, levando a um conjunto de conclusões preliminares que fomentem uma reflexão contemporânea.

Abstract This article explores and analyzes a segment of the journal Arquitectura, published by the Uruguayan Architects Association (SAU, for its Spanish initials), focusing on the discipline challenges that arose between 1914 and 1940. While 1914 marks the founding year of the SAU and the onset of World War I, 1940 does not represent a definitive milestone but it roughly coincides with the construction of the new building for the Faculty of Architecture and the intensification of World War II, which began in 1939. During this period, Uruguayan architecture displayed a significant inclination towards the modern movement. Among the various topics addressed in the journal, five were chosen for their publication frequency, clarity, and relevance. These topics are education, the consolidation of a professional corporation, the transition from "Fine Arts" to "Modernity," housing challenges, and the debate on urbanism as a discipline, with particular emphasis on international visits. Although the analysis of these topics is brief, the aim is to identify the main currents of debate from a critical perspective, leading to a set of preliminary conclusions that encourage contemporary reflection.

Resumen Este artículo explora y analiza un segmento de la revista Arquitectura, publicada por la Sociedad de Arquitectos del Uruguay, enfocándose en los desafíos disciplinares que surgieron entre 1914 y 1940. Aunque 1914 marca el año de fundación de dicha Sociedad y el comienzo de la Primera Guerra Mundial a nivel internacional, 1940 no representa un hito definitivo; sin embargo, coincide —aproximadamente— con la construcción de la nueva sede de la Facultad de Arquitectura y el recrudecimiento de la Segunda Guerra Mundial, iniciada en 1939. Durante este período, la arquitectura uruguaya mostró una inclinación notable hacia el movimiento moderno. De los diversos temas tratados en la revista, se seleccionaron cinco basados en su frecuencia, claridad y relevancia. Estos temas son: la enseñanza, la consolidación de una corporación profesional, la transición de las «Bellas Artes» a la «Modernidad», los desafíos de la vivienda y el debate sobre el urbanismo como disciplina, poniendo especial atención en las visitas internacionales. A pesar de que el análisis de estos tópicos es breve, el objetivo es identificar las principales corrientes de debate desde una perspectiva crítica, lo que lleva a un conjunto de conclusiones preliminares que fomenten una reflexión contemporánea.

Abstract The Fine Arts Service of the Calouste Gulbenkian Foundation (SBA-FCG) was created in 1960 with the objective of providing financial support to all of those who, lacking financial resources, wanted to develop a program of studies inherent to practice, research or artistic improvement, in the country or abroad. Research in 'Architecture and Urbanism' emerged in 1961 at the Portuguese National Laboratory for Civil Engineering (LNEC) and was one of the main research areas covered by the applications for “Grants for Specialization and Professional Development in Arts” awarded by the SBA-FCG. This study exposes the results of a survey conducted to the grants provided by SBA-FCG to architects, for the period between 1960-2000, and it verifies whom among those financed were architects that also conducted research at LNEC. We analyze here the applications of the architects Francisco Silva Dias, Mário Krüger and José Manuel Pinto Duarte, three different generations of architect-researchers. The research programs developed by these three architects under FCG funding are here analyzed and confronted with the research themes developed at LNEC. Thus, based on material available at the archives and library of the FCG and LNEC, this article updates the state of the art about research in architecture and urbanism developed and experimented in Portugal. Finally, it concludes, that the financial support granted by the SBA-FCG was most important to the acquisition and improvement of research techniques developed internationally and their consequent application and dissemination in Portugal, namely at LNEC.

Resumo O Serviço de Belas Artes da Fundação Calouste Gulbenkian (SBA-FCG) foi criado em 1960 com o objetivo de apoiar financeiramente todos aqueles que, carecendo de recursos financeiros, quisessem desenvolver um programa de estudos inerente à prática, à investigação ou ao aperfeiçoamento artístico, no país ou no estrangeiro. A investigação em ‘Arquitetura e Urbanismo’ - desenvolvida desde 1961 no Laboratório Nacional de Engenharia Civil (LNEC) - era um dos vários domínios abrangidos pelas candidaturas a “Bolsas de Estudo de Especialização e Valorização Profissional em Artes” atribuídas pelo SBA-FCG. Expõe-se aqui o levantamento dos apoios concedidos por este serviço a arquitetos, para o período compreendido entre 1960-2000, procurando identificar aqueles que também desenvolveram investigação científica no LNEC. Destacamos na nossa análise as candidaturas dos arquitetos Francisco Silva Dias, Mário Krüger e José Manuel Pinto Duarte, três gerações distintas de arquitetos-investigadores. Apuram-se quais os programas de investigação desenvolvidos por estes três arquitetos, ao abrigo do financiamento da FCG, e cruzam-se com as temáticas por eles trabalhadas no LNEC. Assim, com base no material depositado nos arquivos e biblioteca da FCG e do LNEC, o presente artigo oferece uma sistematização de informação inédita, permitindo uma atualização do estado da arte da investigação em arquitetura e urbanismo desenvolvida e experimentada em Portugal. Finalmente, conclui-se a importância dos apoios concedidos pelo SBA-FCG para a aquisição e aperfeiçoamento de técnicas de investigação no estrangeiro, e sua aplicação e difusão em Portugal, designadamente no LNEC.

Resumen Este artículo, elaborado desde una perspectiva de revisión historiográfica, presenta algunos apuntes para comprender las circunstancias, impactos y consecuencias de dos momentos asumidos de manera general en la historiografía de la arquitectura moderna en Brasil, a lo largo del siglo XX, como los más significativos para entender los vínculos y desdoblamientos de la relación entre enseñanza profesional, institucionalización de la profesión y la consolidación de poéticas arquitectónicas o escuelas. Nos interesa destacar el paso de Lúcio Costa por la dirección de la Escuela Nacional de Bellas Artes, en 1930, normalmente considerado en la historiografía como uno de los antecedentes fundamentales para la constitución de la escuela carioca, que hasta el evento límite de Brasilia será asimilada a la idea de una arquitectura moderna y brasileña y, dos décadas después, la llamada Reforma de 1962 en la Facultad de Arquitectura y Urbanismo de São Paulo que marcará la consolidación del liderazgo de Vilanova Artigas y el surgimiento de la llamada escuela paulista o brutalismo paulista.

Abstract This article, produced from the perspective of a historiographical revision, presents some remarks in order to understand the circumstances, impacts and consequences of two moments generally assumed, in the historiography of modern architecture in Brazil throughout the 20th century, to be the most significant to understand the bonds and unbindings of the relationship between professional education, institutionalization of the profession and the consolidation of architectural poetics or schools. We are interested in highlighting the role of Lúcio Costa as principal of the National School of Fine Arts, in 1930, usually considered, in historiography, one of the fundamental precedents for the constitution of the carioca school which, until the ultimate event of Brasilia, will be assimilated to the idea of a modern Brazilian architecture and, two decades later, the so-called 1962 Reform in the Faculty of Architecture and Urbanism of São Paulo that will mark the consolidation of the leadership of Vilanova Artigas and the emergence of the so-called paulista school or paulista brutalism.

ABSTRACT This article discusses the set of collaborative experiences carried out since 2014 with painters from Praça da República and Parque Trianon-Masp as a reaction to the temporary closure of the Museu Paulista and the unavailability of the materiality of the painting Independência ou Morte, by Pedro Américo, during the renovation of that institution. From concepts related to the field of historical painting in the 19th century, to the processes of building memories via official State symbols, to the practice of artistic appropriation and including considerations by the participating painters themselves, this study shows how contemporary art can be combined with other subareas of fine arts to produce critical reviews of historical art works. 201 TrianonMasp Trianon Masp Morte Américo institution th century symbols themselves works 20 2

RESUMO Este artigo discute o conjunto de experiências colaborativas realizadas desde 2014 com pintores da Praça da República e do parque Trianon-Masp em reação ao fechamento temporário do Museu Paulista e à indisponibilidade da materialidade da pintura Independência ou morte, de Pedro Américo, durante a reforma dessa instituição. A partir de conceitos relacionados ao campo da pintura histórica do século XIX, aos processos de construção de memórias via símbolos oficiais do Estado, à prática de apropriação artística, incluindo também considerações dos próprios pintores participantes, este estudo evidencia como a arte contemporânea pode se aliar a outras subáreas das artes plásticas na produção de revisões críticas de obras históricas. 201 TrianonMasp Trianon Masp morte Américo instituição XIX Estado artística participantes históricas 20 2

Riassunto: La filosofia originale cinese è una sublimazione della coscienza culturale umana di base - la coscienza della vita e della riproduzione - che è l’unificazione del “Concetto di yin e yang” e del “Concetto di ciclo di vita “ in cui “lo yin e lo yang si uniscono per creare tutte le cose, e il ciclio dà una vita senza fine. La cultura originale cinese determina la visione filosofica, la visione artistica, il temperamento emotivo, la benessere psicologica e lo spirito nazionale della nazione cinese. Il sistema filosofico cinese, che rappresenta l’unificazione della cosmologia, dell’epistemologia e della metodologia della nazione cinese, è un sistema filosofico completo e maturo che si è formato nella società tardo primitiva molto prima delle Dinastie Xia, Shang e Zhou. La cultura originale cinese, dalla cultura della ceramica dipinta di 7.000 anni fa fino ai giorni nostri, dalla cultura archeologica sotterranea alla cultura di massa terrestre, è un concetto ampio di belle arti, determinato da una visione filosofica dell’arte plastica di osservare gli oggetti e prendere immmagini. La cultura originale e la filosofia originale della Cina primitiva sono ancora conservate in un’eredità storica estremamente ricca e completa nella vita sociale della cultura di massa. Per questo motivo la Cina è l’unico Paese tra le civiltà antiche che non aver subito una frattura culturale. Riassunto lunificazione l unificazione Concetto cose fine artistica emotivo cosmologia dellepistemologia dell epistemologia Xia Zhou 7000 7 000 7.00 nostri terrestre arti dellarte arte immmagini uneredità eredità lunico unico 700 00 7.0 70 0 7.

Abstract: Chinese primitive philosophy, as the unity of cosmological ontology, epistemology and methodology of the Chinese philosophical system, is a complete and mature philosophical system formed in the late primitive society as early as before the Xia, Shang and Zhou Dynasties. It is also the unity of the concept of Yin and Yang and constant life that is sublimated from the human-beings’ basic cultural consciousness: life consciousness and reproduction consciousness. The Chinese primitive culture, from the painted pottery culture 7,000 years ago to today, from the underground archaeological culture to the group culture on the ground, is a plastic art based on the concept of viewing objects and taking images. It is a broad concept of fine arts that determines the philosophical view, artistic view, emotional temperament, psychological quality and national spirit of the Chinese nation. The most primitive culture and primitive philosophy in China have been preserved with extremely rich and complete historical remains in the group’s cultural and social life. It is for this reason that China is the only country with an ancient history of civilization that has not experienced a cultural break. The primitive culture and philosophical system of China, as the philosophical basis and main connotation of ethnic group culture, are completely accumulated in the ethnic groups’ social life. Folk art, which has accumulated the hundreds of millions of working masses’ wisdom in China, is the mother of the Chinese national culture and art that has been inherited from primitive society until today with distinct national and regional characteristics. It is a long-standing cultural form with the longest history, the widest mass participation, the most distinct regional characteristics and the richest cultural connotation in the Chinese national cultural form. The rapid development of the times makes the traditional folk customs and folk arts, which are generally deposited in the rural areas of China, become precarious. As a result, the research advantages of the unique human culture and the original culture of China will cease to exist. Therefore, it is an urgent historical task to make use of this advantage to study the original culture of China and the philosophical genes of the Chinese nation. Protection is imminent, and inheritance is the historical mission, which highlights the deeper significance of studying primitive culture and primitive philosophy in modern society. Abstract ontology Xia Dynasties humanbeings beings human-beings 7000 7 000 7,00 ground images view temperament nation groups s break masses longstanding long standing participation precarious result exist Therefore imminent mission 700 00 7,0 70 0 7,

Digitisation has transformed art education. This study examines the trends and challenges faced by higher education art lecturers in fine and applied arts (FAA) in Nigeria, focusing on technological literacy- specifically, the availability, accessibility, and usability of digitised teaching and learning tools. A technology-based theoretical framework, namely van Dijk's (2005) resource and appropriation theory formed the theoretical framework. This qualitative study was conducted at two higher education institutions in Lagos State, Nigeria. Data were collected from 20 student teachers and four FAA lecturers through semi-structured interviews, focus group discussions, and classroom observations and analysed by generating themes. The findings suggest that FAA lecturers are guided by their technological literacy-creating pathways for digital usage and access for teaching and learning. The study could encourage curriculum planners to develop policies that advance technological literacy that meet the needs of art education in a global society.

Resumen Este artículo se interroga por los usos sociales de la escritura en un museo provincial de bellas artes del litoral argentino a mediados de siglo XX, a partir de diferentes aportes de los estudios históricos sobre cultura escrita. El estudio interrelacionado de objetos bibliográficos, ephemera, escrituras expuestas, autógrafas y epigráficas permite identificar y constituir como objeto de análisis diferentes prácticas y artefactos escriturales. A partir del estudio de un caso particular, el artículo caracteriza diferentes tipologías de lo escrito para analizar su apropiación por parte de un grupo social. Esos usos son contextualizados a la luz de la emergencia de formas diferenciales de valoración de lo escrito en medios gráficos de comunicación y en la cultura institucional del museo a mediados de siglo XX. Las particularidades de un museo de arte permiten observar desde un enfoque singular la insistencia de imaginarios que vinculan a la inscripción escrituraria con la expresión de la individualidad y con la conservación de nombres ilustres en la memoria colectiva. Junto con ello, el estudio pone de relieve la noción de patrimonio escriturario, entendido como un dispositivo conceptual que permite dar cuenta de forma unitaria e integral de los objetos escritos conservados en un museo.

Abstract This article examines the social uses of writing in a provincial museum of fine arts on the Argentinean area known as Litoral in the mid-twentieth century, based on different contributions from historical studies on written culture. The interrelated study of bibliographic objects, ephemera, exhibited writings, apparatus and autographs allows us to identify and constitute different writing practices and artefacts as an object of analysis. From the study of a particular case, the article characterizes different typologies of writing and analyses their appropriation by a social group. These uses are contextualized in the light of the emergence of differential forms of valuing writing in the graphic media and in the institutional culture of the museum in the mid-twentieth century. The particularities of an art museum allow us to observe from a singular perspective the insistence of imaginaries that link written inscription with the expression of individuality and the preservation of illustrious names in the collective memory. The study also highlights the notion of written heritage, understood as a conceptual device that makes it possible to give a unitary and integral account of the written objects preserved in a museum.

Abstract This article approaches the transformation of aesthetic values and photographic genres caused by the use of silver bromide gelatin dry plate, which is manifested in manuals of photography circulated in Mexico between 1871 and 1900. The high sensitivity of the dry plate allowed the capture of moving objects in photography, this generated new relations between painting and photography that need to be reconsidered. History affirms that the snap shot impelled photography to take distance from aesthetic precepts of fine arts and to formulate precepts of its own. Other sources however reveal that some photographers found in rapid exposures a new opportunity to get back to pictorial models through a retrieval of the scenes of genre painting.

Resumen Esta investigación trata sobre las transformaciones de los valores estéticos y de los géneros fotográficos a los que llevó el uso de la técnica de la placa seca de gelatina-bromuro de plata, que se manifestaron en los manuales de fotografía que circularon en México entre 1871 y 1900. La alta sensibilidad de la placa seca permitió la captura del movimiento en fotografía, y generó nuevas relaciones entre los medios de la pintura y la fotografía que es necesario matizar. La historiografía afirma que la captura del instante provocó que la fotografía se distanciara de los preceptos estéticos de las Bellas Artes y formulara los propios. En contraste, los libros revelan que hubo fotógrafos que encontraron en las altas velocidades de obturación una nueva oportunidad de volver a los modelos pictóricos mediante el acercamiento a la escena costumbrista.

RESUMEN La formación artística de Alberto da Veiga Guignard ha sido reconstruida a partir de fuentes secundarias, ya que casi todas las obras producidas en los años de estudio en Alemania, Italia y Francia fueron pérdidas en Europa. En general, se considera el tipo de formación practicada en la Academia de Bellas Artes de Munique, los cuadros de sus antiguos maestros, de los museos de Munique y Florencia que posiblemente ha visitado, los movimientos de la vanguardia europea que influenciaron la juventud en la época, entre otros. Nuestra intención es apuntar una ruta a la recuperación de sus obras en la juventud, demostrando lo poco qué se encontró y por dónde se extiende la producción anterior a 1929, que podría aclarar la formación de Guignard. secundarias Alemania Europa general maestros visitado época otros 1929 192 19 1

ABSTRACT The artistic studies of the Brazilian painter Alberto da Veiga Guignard have been reconstituted from secondary sources, since researchers lost track of the works produced in his years of study in Germany, Italy, and France. In general, these studies considered the type of training practiced at the Academy of Fine Arts in Munich, the paintings by old masters present in the museums of Munich and Florence that he possibly visited, the movements of the European avant-garde that influenced the youth of the time, among others. Our intention here is to signalize a way to recover his youth works, showing the few that have been found, and where is located the production prior to 1929, that could clarify Guignard’s steps during his years of training. sources Germany Italy France general visited avantgarde avant garde time others found 1929 Guignards s 192 19 1

RESUMO A formação artística de Alberto da Veiga Guignard tem sido reconstituída a partir de fontes secundárias, já que quase todas as obras produzidas em seus anos de estudo na Alemanha, Itália e França se perderam na Europa. Em geral, leva-se em conta o tipo de formação praticada na Academia de Belas Artes de Munique, os quadros de antigos mestres dos museus de Munique e Florença que ele possivelmente visitou, os movimentos da vanguarda europeia que influenciavam a juventude da época, entre outros. Nossa intenção é apontar um caminho para a recuperação das suas obras de juventude, mostrando o pouco que já foi encontrado e por onde se espalha a produção anterior a 1929, que poderia esclarecer a formação de Guignard. secundárias Alemanha Europa geral levase leva visitou época outros 1929 192 19 1