Forgotten glory, a tour of nineteenth-century academic masters: Rodolfo Amoedo
Text/Cheung Chau Scattered People
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Here is the column of @Changzhou Sanren [Private Art Dictionary].
In art history, we often talk about a word, college, English for Academy, this word represents the meaning of taking the right path and not taking the evil road, that is, the right path. Academic artists emphasize norms and traditions, emphasize the relationship between sketching, and do not pay much attention to the modeling role of color, in other words, academic art is more rational than emerging art such as Impressionism, does not emphasize personal sensibility and character, and pursues the highest ideal, that is, an elegant and harmonious and solemn atmosphere.
The Brazilian painter Rodolfo Amoedo (1857-1941) was a pivotal figure in the Brazilian domestic art scene. He was the main head of the National Academy of Fine Arts, he had been the standard-bearer of the Brazilian art scene in Brazil in the nineteenth and even the twentieth century, and it can be said that he was the leader of the neoclassical and romantic movements in Brazil.
As an academic artist, Almodo has taught at many universities in China and is deeply rooted in the tradition and essence of academic art. Looking at his artworks, people feel the beauty of art, and even Brazil on the other side of the Atlantic can produce such a fruitful result. Almodo's human body shape is quite accurate, elegant and harmonious, deeply rooted in the laws of classical art. Looking at its portraits is impressive, the characters often look at you directly, as if the artist is very confident in expressing the inner emotions of the eyes, and the protagonist of the portrait and the viewer gaze at each other, which is unforgettable.
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