Modernidade e provincianismo: MASP, MAM-SP e a Campanha Nacional de Museus Regionais no nordeste brasileiro
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2020
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A tese buscou identificar o capital social de determinados grupos da elite agrária paulista do século XIX e a sua relação com a ideia de ciência, museus e arte, articulados
com o contexto político e econômico do período. Partindo do conceito de modernização conservadora de Florestan Fernandes, a proximidade tecida entre este grupo e o
Movimento de Arte Moderna de 1922, na década de 1940, associados ao capital
industrial emergente e ao capital cultura e econômico internacional, influenciaram o
processo de constituição de museus de arte em São Paulo, comprometidos com a formação e a promoção do diálogo museológico e artístico entre o cenário externo e o
cenário nacional. Em contexto de Guerra Fria, a pesquisa buscou discutir o envolvimento desses museus com o quadro político, econômico e cultural internacional,
bem como compreender se a Campanha Nacional dos Museus Regionais significou a tentativa de reverberar tais aspectos internacionais, acrescido por um suposto projeto
urbano-industrial paulista para outras regiões do país, a partir da política de implantação
de museus regionais de arte moderna. Os estudos foram concentrados nos três museus regionais estimulados pela Campanha na região Nordeste do Brasil, inaugurados nas cidades de Olinda, Feira de Santana e Campina Grande na década de 1960, durante o
regime militar brasileiro. Considerando a centralidade de Yolanda Penteado, vinculada a esses múltiplos processos, por meio da pesquisa de campo, aliada à revisão bibliográfica e a fontes documentais, a tese buscou compreender as dinâmicas dialógicas
estabelecidas entre os grupos locais que acolheram o projeto de implantação dos museus
regionais e o grupo paulista no momento de fundação de tais museus, bem como compreender as dinâmicas que foram determinantes para a manutenção desses museus
regionais após a extinção da Campanha Nacional de Museus Regionais em 1968.
The thesis sought to identify the social capital of certain groups of the 19th century paulista agrarian elite and their relationship with the idea of science, museums and art, articulated with the political and economic context of the period. Starting from the concept of conservative modernization of Florestan Fernandes, the proximity woven between this group and the 1922 Movement of Modern Art, in the 1940s, associated with emerging industrial capital and international cultural and economic capital, influenced the process of constitution of museums. São Paulo, committed to the formation and promotion of the museological and artistic dialogue between the external and the national scene. In the context of the Cold War, the research sought to discuss the involvement of these museums with the international political, economic and cultural framework, as well as to understand if the National Campaign of Regional Museums meant the attempt to reverberate such international aspects, added by a supposed urban-industrial project. São Paulo to other regions of the country, based on the policy of implanting regional museums of modern art. The studies were concentrated in the three regional museums stimulated by the Campaign in the northeast region of Brazil, inaugurated in the cities of Olinda, Feira de Santana and Campina Grande in the 1960s, during the Brazilian military regime. Considering the centrality of Yolanda Penteado, linked to these multiple processes, through field research, allied to bibliographic review and documentary sources, the thesis sought to understand the dialogical dynamics established between the local groups that welcomed the project for the implementation of regional and local museums. The São Paulo group at the time of the foundation of such museums, as well as to understand the dynamics that were determinant for the maintenance of these regional museums after the extinction of the National Campaign of Regional Museums in 1968.
The thesis sought to identify the social capital of certain groups of the 19th century paulista agrarian elite and their relationship with the idea of science, museums and art, articulated with the political and economic context of the period. Starting from the concept of conservative modernization of Florestan Fernandes, the proximity woven between this group and the 1922 Movement of Modern Art, in the 1940s, associated with emerging industrial capital and international cultural and economic capital, influenced the process of constitution of museums. São Paulo, committed to the formation and promotion of the museological and artistic dialogue between the external and the national scene. In the context of the Cold War, the research sought to discuss the involvement of these museums with the international political, economic and cultural framework, as well as to understand if the National Campaign of Regional Museums meant the attempt to reverberate such international aspects, added by a supposed urban-industrial project. São Paulo to other regions of the country, based on the policy of implanting regional museums of modern art. The studies were concentrated in the three regional museums stimulated by the Campaign in the northeast region of Brazil, inaugurated in the cities of Olinda, Feira de Santana and Campina Grande in the 1960s, during the Brazilian military regime. Considering the centrality of Yolanda Penteado, linked to these multiple processes, through field research, allied to bibliographic review and documentary sources, the thesis sought to understand the dialogical dynamics established between the local groups that welcomed the project for the implementation of regional and local museums. The São Paulo group at the time of the foundation of such museums, as well as to understand the dynamics that were determinant for the maintenance of these regional museums after the extinction of the National Campaign of Regional Museums in 1968.
Descrição
Orientação: Judite Santos Primo
Palavras-chave
DOUTORAMENTO EM MUSEOLOGIA, MUSEOLOGIA, MODERNIDADE, CAPITAL SOCIAL, ARTE MODERNA, MUSEUS REGIONAIS, PATRIMÓNIO CULTURAL, MUSEOLOGY, MODERNITY, SHARE CAPITAL, MODERN ART, REGIONAL MUSEUMS, CULTURAL HERITAGE