Navegando por Assunto "Pintura"

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Acesso aberto (Open Access)
Avaliação através do desempenho térmico de edificação verticalizada em Belém-PA
(Universidade Federal do Pará, 2013-04-01) VINAGRE, Natália Daniele de Lima; PERDIGÃO, Ana Kláudia de Almeida Viana; TOSTES, Maria Emília de Lima; http://lattes.cnpq.br/4197618044519148; http://lattes.cnpq.br/9009878908080486
This dissertation studies the thermal performance of materials in a vertical facade building in the city of Belém - PA, Brazil. This work aims to contribute to the study of the thermal performance and efficiency of materials used in residential buildings of the vertical envelopment, between opaque elements, two types of materials currently very used in construction were selected, painting and ceramic coating. It also studies the influence of the height of the building on its thermal performance and energy efficiency. The study was conducted with the use of computational modeling in EnergyPlus code that evaluates the thermal performance of the building, the influence of the height at the same energy efficiency. Compares the thermal performance of the two selected materials, it was found that the ceramic coating presented building with the average internal temperature of 0.42 ° C above the temperature at the building painted, hence less thermal performance. The influence of the height of the floor did not produce a significant variation in internal temperature, because its increase, small decrease occurred in the internal temperature with thermal gradient of about -0.07 º C / m due to the wind speed is greater when more higher the pavement. It is also considered for this study as passive natural ventilation strategy for the building under study, according to the analysis of Bioclimatic chart Givoni contribute positively to the condition of the internal temperature and humidity, and consequently the user.
Acesso aberto (Open Access)
"A conquista do Amazonas": Antônio Parreiras e a sua representação na Amazônia
(Universidade Federal do Pará, 2019-09) CASTRO, Raimundo Nonato de
The painting “A Conquista do Amazonas”, by Antônio Parreiras, is rich in detail and capable of referring the viewer to the colonial period, however, it is a production from the beginning of the 20th century and it is possible to see the construction of an identity regional by which marks the birth of the State of Pará beyond the borders with the other states of the federation. Antônio Parreiras was responsible for painting his masterpiece that would remain in Pará as part of the republican project of building national symbols. With this order, Antônio Parreiras organized his first historical screen. In this perspective, the main objective is to identify the various aspects present in the screen. Noting that the screen narrates one of the great achievements of the colonial period, but its production is part of a project to build a regional identity. So much so that the screen is divided into three key moments. The first relates to the act of conquest, in which the reading of the pose term is made. In the center, the five members of the expedition led by Pedro Teixeira hear in a solemn manner, and there is no manifestation of disrespect. The second moment is related to the idea of civilization in which the European leads the indigenous element towards living in society and progress. And lastly, the almost absolute predominance of European technologies, since the sails of the Portuguese vessels occupy a prominent place, if compared to those produced by the Amazonian natives.
Acesso aberto (Open Access)
Paisagem e retrato: pintura e filosofia em "Humano, demasiado humano" de Nietzsche
(Universidade Federal do Pará, 2016-09-30) LÉDO, Thiago Moura; CHAVES, Ernani Pinheiro; http://lattes.cnpq.br/5741253213910825
What is the philosophical orientation that Nietzsche put to himself in Human, All Too Human when he demands such consideration: “The philosophers are used to put themselves in front of life and experience as they were like a painting developed once for all, as a event painted”? In the second volume of the same work there is another aphorismus close to this one: “All the thinkers (philosophers, writers ...) are painters-thinkers (Maler-Denker) that paint their lives, and some of them impose to themselves the “absurd task” to paint „the’ life, in a excessive anxiety. How to caracteriza this position after that? Philosophy and Paiting set a relation that grows in a apropriate oportunity of Human, all too human’s contexto, despite it comes from precedents like the sketch of philosophical portraits in Philosophy in the Greek Tragic Era and the ulterior “Philosophical Autobiography”: the 86‟s Prefaces and Ecce homo. The most importante here is the imagetic and aphorismatic caracterization of Nietzsche‟s works in his “middle and positivist period”. Two ways put bases in this relation between philosophy and painting: 1) the necessity of contextualization grounded in a historical philosophy, 2) together with the moviment of individualization that do not complet a unit, but it constantly transfigure itself. Here one seeks to explain contextualization and individualization, that is, the landscape and portrait are methods of painting that Nietzsche used in philosophy, through the way that both converge to the problems of devir or problems of the historical sense.
Acesso aberto (Open Access)
Paisagens de Belém: história, natureza e pintura na obra de Antônio Parreiras, 1895-1909
(Universidade Federal do Pará, 2006-10-30) ARRAES, Rosa Maria Lourenço; FIGUEIREDO, Aldrin Moura de; http://lattes.cnpq.br/4671233730699231
This research has as an objective the analysis of the paintings from the artist Antônio Diogo Parreiras that are made in the beginning of the twenty century and that are property from the Belém’s Art Museum. They are images from a city that have an equatorial landscape and wich is one of the most representative urban sets from the brazilians cities, a legacy from a time that was called “ The Rubber Boom”. This event brought to the North of Brazil in the beginning of the twenty century, several artists, including the painting Antônio Diogo Parreiras, that made a painting exposition. The Parreiras works that registered the city of Belém are the most important register from the history of this place. They are made inside a context that includes many intelectuals and another brazilians artists. They consist like an iconography that possesss in itself irrefutable narratives, offering to the people that see his work, a society register from your environment, configuring the art work like a reading that makes possible the discovery of many points that help us in the hard work of understanding our Social History from the Amazonia.