A representação da exclusão em Lasar Segall: uma análise sobre o expressionismo em “Interior de pobres II”

Abstract

During the first decades of the twentieth century, the visual arts, found themselves important works and new aesthetic and theoretical proposals. In this perspective the expressionism brought major issues surrounding the subjective and objective representation of the artist and society. Express what they see and feel that the pictorial transformations in drawings, prints and paintings search the break with classical and bourgeois aesthetics, questioning the status quo and himself. The period favors such artistic postures, because, is the first decades of the twentieth century that have become major transformations in the political, economic, cultural and social scene with the neocolonial race, coming from the nineteenth century, the collapse of the First World War, which consume meat blood and sweat of families and families for four long years, the frenzy of the Belle Époque that would model ways of being, fashions and modes, the crisis of liberalism in 1929 and the emergence of centralized, authoritarian and totalitarian policies in the four corners of the world . The expressionist works by Lasar Segall match this historical period, post-War, and behind itself great transformations in pictorial characteristics of the artist. Lasar Segall was a photographer structurally marginalized for his confrontational origin, because he was a Jew born in Lithuania, in a period when the territory was held by the artists empire. His works your back, initially realistic and impressionistic, internal conflict passes to the pre-expressionism, expressionism and, finally, Brazilian modernism. In his expressionist phase, portrays his childhood, his tensions and subjective frustrations and represents human suffering in his paintings and prints. This study aims to analyze images, especially visual arts, within the construction of an era imagery. For this, we selected a work especially Lasar Segall, "Interior de Pobres II", 1921/22, the interpretation of an imaginary present in the visual arts of the period. The representation of marginalized groups within the contemporary capitalist society, where the visuality of inequality is present in the artistic sphere so plural as works by Lasar Segall