Musical iconography by travel artists in nineteenth century Brazil

This article examines musical scenes with plucked chordophones in the works of the two most important travel artists in nineteenth century Brazil, the French painter Jean-Baptiste Debret, and the German artist Johann Moritz Rugendas. Differently from expected, their illustrations do not register any...

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Main Author: Renato Moreira Varoni de Castro
Format: Article
Language:English
Published: Universidade Federal de Goiás 2015-06-01
Series:Visualidades
Subjects:
Online Access:http://revistas.ufg.emnuvens.com.br/VISUAL/article/view/33248
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author Renato Moreira Varoni de Castro
author_facet Renato Moreira Varoni de Castro
author_sort Renato Moreira Varoni de Castro
collection DOAJ
description This article examines musical scenes with plucked chordophones in the works of the two most important travel artists in nineteenth century Brazil, the French painter Jean-Baptiste Debret, and the German artist Johann Moritz Rugendas. Differently from expected, their illustrations do not register any figure eight-shaped chordophone as the traditional viola and violão. Rather, one finds unknown, oval and piriform, instruments. However, beyond classificatory organology interests, this article points out the multidimensionality of the visual mediation of musical phenomena by such artists, indicating the need for cultural, political, and social contextualization, including the artistic conventions, as a condition for a better use of those images as musical evidence of the past.
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spelling doaj.art-2357e135445f474e82eabaa3c56087b32022-12-22T03:28:39ZengUniversidade Federal de GoiásVisualidades1679-67482317-67842015-06-01131103910.5216/vis.v13i1.33248 Musical iconography by travel artists in nineteenth century BrazilRenato Moreira Varoni de CastroThis article examines musical scenes with plucked chordophones in the works of the two most important travel artists in nineteenth century Brazil, the French painter Jean-Baptiste Debret, and the German artist Johann Moritz Rugendas. Differently from expected, their illustrations do not register any figure eight-shaped chordophone as the traditional viola and violão. Rather, one finds unknown, oval and piriform, instruments. However, beyond classificatory organology interests, this article points out the multidimensionality of the visual mediation of musical phenomena by such artists, indicating the need for cultural, political, and social contextualization, including the artistic conventions, as a condition for a better use of those images as musical evidence of the past.http://revistas.ufg.emnuvens.com.br/VISUAL/article/view/33248Musical iconography in BrazilDebret and RugendasBrazilian chordophones
spellingShingle Renato Moreira Varoni de Castro
Musical iconography by travel artists in nineteenth century Brazil
Visualidades
Musical iconography in Brazil
Debret and Rugendas
Brazilian chordophones
title Musical iconography by travel artists in nineteenth century Brazil
title_full Musical iconography by travel artists in nineteenth century Brazil
title_fullStr Musical iconography by travel artists in nineteenth century Brazil
title_full_unstemmed Musical iconography by travel artists in nineteenth century Brazil
title_short Musical iconography by travel artists in nineteenth century Brazil
title_sort musical iconography by travel artists in nineteenth century brazil
topic Musical iconography in Brazil
Debret and Rugendas
Brazilian chordophones
url http://revistas.ufg.emnuvens.com.br/VISUAL/article/view/33248
work_keys_str_mv AT renatomoreiravaronidecastro musicaliconographybytravelartistsinnineteenthcenturybrazil