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Brazilian literary nationalism began in the 1840s with the works of José de Alencar, who used French literary models to describe the regions and social milieus of Brazil. [8] Nationalist literary works became more complex in the second half of the 19th century. [9]
19th; 20th; 21st; 22nd; 23rd; 24th; Pages in category "19th-century Brazilian painters" The following 32 pages are in this category, out of 32 total. ...
Brazilian painting, or visual arts, emerged in the late 16th century, influenced by the Baroque style imported from Portugal.Until the beginning of the 19th century, that style was the dominant school of painting in Brazil, flourishing across the whole of the settled territories, mainly along the coast but also in important inland centers like Minas Gerais.
The oldest known art in Brazil is the cave paintings in Serra da Capivara National Park in the state of Piauí, [1] dating back to c. 13,000 BC. More recent examples have been found in Minas Gerais and Goiás, showing geometric patterns and animal forms.
On February 19, 2023, Switzerland offered to help Brazil restore the French 17th century clock (made by Balthazar Martinot and targeted by a Bolsonaro supporter during the attacks) in a partnership with Swiss watchmaker company Audemars Piguet, which was accepted by the Brazilian Culture ministry. [17]
Brazilian Romantic painting was the leading artistic expression in Brazil during the latter half of the 19th century, coinciding with the Second Reign. It represented a unique evolution of the Romantic movement ; it diverged significantly from its European counterpart and even the parallel Romantic movement in Brazilian literature .
Brazilian queer artist Bia Leite has joined “Goddess of the Water,” a project from one of the most sought-after of young Brazilian directors, João Paulo Miranda Maria, whose first feature ...
Thematically, most art during this period focused on religious themes because the Catholic church was the greatest patron of the arts. The art world of Colonial Brazil did not have the ability to produce the "palatial" art that the recently arrived royal court desired. This explains the rapid support given to Lebreton's project by the exiled ...