O meio-tom do sensível: criação, crítica e relações artísticas na pintura de Manoel Santiago (1920-1938)

Abstract

The thesis discusses the art of the Amazonian painter Manoel Santiago and the artistic criticism of his works. The intended approach is directly linked to the theoretical methodological developments regarding the experiences of critics and artists, as well as their different demands, appropriations and understandings about art. In these terms, an analysis is made of the conditions of Santiago’s artistic creation based on his understanding of art and his social and artistic interactions during his performanc e in Rio de Janeiro between the 1920s and 1938. Throughout his artistic journey, Manoel Santiago shaped perceptions of himself, establishing a certain artistic individuality. In light of this, I emphasize the position that the painter assumed in the artistic scene, highlighting his choices and artistic practices as deliberate strategies to assert himself as an artist, enticing an appreciation for his paintings. Several critiques published in newspapers, books, and magazines are scrutinized with the aim of comprehending the painter's interactions and the perception of his works, with a focus on the relationship between sensitivity and the utilization of color . The thesis is defended that Santiago's idea of art and the process of artistic creation developed from interests and relationships within the worlds of art, in which both the painter himself and critics collaborated to build a certain image and artistic reputation.