RESUMO
Neste artigo são apresentados processos, materialidades e reflexões que envolvem a criação de uma instalação artística, desenvolvida pelas autoras do trabalho provocadas pelos silenciamentos que marcam corpos plurais. As autoras foram mobilizadas pela intencionalidade do exercício de "colocar corpo" para a ação constante de des(colonizar)patriarcalizar a si mesmas e a vida, e pelo desejo de criar na conexão entre mulheres. A obra foi alicerçada com base em suas histórias e narrativas, por meio da materialidade expressa nos elementos visuais incorporados às peças da instalação, com o objetivo de questionar as violências visíveis e invisíveis advindas de processos hegemônicos de poder e de dominação do patriarcado, do colonialismo e do capitalismo neoliberal. O convite é para a experimentação e a fruição de alguns tensionamentos e expressões que refletem formas possíveis de (r)existência.(AU)
In this article, processes, materialities and reflections involving the creation of an artistic installation are presented, developed by the authors of the work caused by the silencing that mark plural bodies. The authors were mobilized by the intentionality to exercise "giving body" to the constant action of de(colonizing) patriarchalize themselves and life itself, and by the desire to create in the connection among women. The manuscript was based on its stories and narratives, through the materiality expressed in the visual elements incorporated into the installation's pieces, with the objective of questioning the visible and invisible violence arising from hegemonic processes of power and domination of patriarchy, colonialism and neoliberal capitalism. The invitation is to experiment and enjoy some tensions and expressions that reflect possible forms of (r)existence.(AU)
En este artículo son presentados procesos, materialidades y reflexiones que involucran la creación de una instalación artística, desarrollada por las autoras, provocadas por los silenciamientos que marcan cuerpos plurales. Las autoras se movilizaron con la intención del ejercicio de "poner cuerpo" para la acción constante de des(colonizar)patriarcalizar a sí mismos y a la vida, y con deseos de crear desde la conexión entre mujeres. La obra se basó en sus historias y narrativas, a través de la materialidad expresada en los elementos visuales incorporados en las piezas de la instalación, con en lo objetivo de cuestionar las violencias visibles e invisibles resultante de los procesos hegemónicos de poder y dominación del patriarcado, del colonialismo y del capitalismo neoliberal. La invitación es a experimentar y disfrutar de algunas tensiones y expresiones que reflejan posibles formas de (r)existencia.(AU)
Assuntos
Humanos , Arte , Mulheres , Poder Psicológico , Violência de Gênero , Anatomia ArtísticaRESUMO
Leonardo Da Vinci fue autor de ilustraciones científicas. Se lo considera un pionero en el estudio de la anatomía humana en el siglo XV. Sus dibujos elevan la disección al nivel de una obra de arte. (AU)
Leonardo was author of scientific illustrates. He was a Pioneer in anatomy human study in the XV century. His drawing elevated the dissection to a level of art work. (AU)
Assuntos
História do Século XV , Pessoas Famosas , Anatomia/história , Anatomia Artística , História Pré-Moderna 1451-1600 , Dissecação/históriaRESUMO
According to Giorgio Vasari (1511-1574), the great genius of anatomy, Michelangelo Buonarroti (1475-1564), in painting the frescoes on the ceiling of the Sistine Chapel (1508-1512), demonstrated to the world a new dimension/perspective of painting, especially in the sublime manner with which the artist represented the anatomical details of the characters that made up his frescoes. Since then, the Sistine Chapel has received millions of tourists annually, who marvel at the anatomical beauty of the characters depicted on its ceiling. It has also received many scholars of art and even anatomists, who have often tried to infer theses and explanations regarding Michelangelo's real intentions in elaborating this great work. However, even after five centuries, the Vatican's own official explanations of the true intentions of the artist remain quite uncertain. In an attempt to elucidate Michelangelo's possible intentions in the design of this memorable work, this article presents unpublished evidence that all the frescoes on the ceiling of the Sistine Chapel were organized by the artist according to a code based on the number of characters in each fresco, the gematria of the Hebrew/Greek alphabet, and the Golden Ratio. This decoding process could reveal a key factor influencing the artist's intentions in ordering the elements in this work. Clin. Anat. 31:948-955, 2018. © 2018 Wiley Periodicals, Inc.
Assuntos
Anatomia Artística/história , Pessoas Famosas , Pinturas/história , História do Século XV , História do Século XVI , Humanos , Cidade do VaticanoRESUMO
The specialized literature has described how the great anatomist par excellence, Michelangelo Buonarroti (1475-1564), like many other renowned artists of his time, included a self-portrait in many of his works. This article presents novel evidence that Michelangelo inserted his self-portrait into a sketch of his close friend, Vittoria Colonna (1490-1547). This work, made by Michelangelo in 1525, is currently in the collection of the British Museum in London, England. This self-portrait of Michelangelo can serve as a tool for analyzing the artist's probable bodily dimensions and even his state of health during this period of his life. Clin. Anat. 31:335-338, 2018. © 2018 Wiley Periodicals, Inc.
Assuntos
Anatomia Artística/história , Pessoas Famosas , Retratos como Assunto , História do Século XVI , HumanosAssuntos
Humanos , Masculino , Feminino , Anatomia Artística , Dermatopatias , Ilustração Médica , Pele/lesões , Dermatite , Dermatite Atópica , Eczema , Líquen Plano , Micoses , Neoplasias Cutâneas , Prurido , UrticáriaRESUMO
The history of medicine and cardiology is marked by some geniuses who dared in thinking, research, teaching and transmitting scientific knowledge, and the Italian Andreas Vesalius one of these brilliant masters. His main scientific work "De Humani Corporis Fabrica" is not only a landmark study of human anatomy but also an artistic work of high aesthetic quality published in 1543. In the year 2014 we celebrated 500 years since the birth of the brilliant professor of Padua University, who with his courage and sense of observation changed the understanding of cardiovascular anatomy and founded a school to date in innovative education and research of anatomy. By identifying "the anatomical errors" present in Galen's book and speech, he challenged the dogmas of the Catholic Church, the academic world and the doctors of his time. However, the accuracy of his findings and his innovative way to disseminate them among his students and colleagues was essential so that his contributions are considered by many the landmark of modern medicine. His death is still surrounded by mysteries having different hypotheses, but a certainty, suffered sanctions of the Catholic Church for the spread of their ideas. The cardiologists, cardiovascular surgeons, interventional cardiologists, electrophysiologists and cardiovascular imaginologists must know the legacy of genius Andreas Vesalius that changed the paradigm of human anatomy.
Assuntos
Cardiologia/história , Fenômenos Fisiológicos Cardiovasculares , Sistema Cardiovascular/anatomia & histologia , Anatomia Artística/história , Dissecação/história , História do Século XVI , História Medieval , Humanos , EspanhaRESUMO
Andreas Vesalius (1514-1564) is considered the Father of Modern Anatomy, and an authentic representative of the Renaissance. His studies, founded on dissection of human bodies, differed from Galeno, who based his work on dissection of animals, constituted a notable scientific advance. Putting together science and art, Vesalius associated himself to artists of the Renaissance, and valued the images of the human body in his superb work De Humani Corporis Fabrica.This paper aims to honor this extraordinary European Renaissance physician and anatomist, who used aesthetic appeal to bind text and illustration, science and art. His achievements are highlighted, with an especial attention on neuroanatomy. Aspects about his personal life and career are also focused.
Assuntos
Ilustração Médica/história , Neuroanatomia/história , Anatomia Artística/história , Encéfalo/anatomia & histologia , Dissecação/história , História do Século XVI , Humanos , Sistema Nervoso Periférico/anatomia & histologiaRESUMO
El Hombre de Vitruvio es un estudio de las proporciones humanas que data del siglo I a.C y que fue redescubierto durante el Humanismo y difundido en el Renacimiento por Leonardo da Vinci. También conocido como "El hombre ideal" o "Canon de las proporciones", se lo considera una suma de arte y ciencia. Actualmente, su estudio continúa. El Hombre de Vitruvio es, hasta la fecha, la representación más famosa de la morfología y las medidas humanas.
The Vitruvian Man is a study of human proportions made in the 1st Century BC. It was rediscovered in the Humanist period and spread by Leonardo da Vinci during the Renaissance. Also known as "The ideal man" or "Canon of proportions" , it is considered to be a sum of art and science and it is still being studied. The Vitruvian Man is, so far, the most famous representation of human morphology and measures.
Assuntos
Humanos , Anatomia Artística , Corpo Humano , Ilustração Médica , Medicina nas ArtesRESUMO
What grips us so powerfully to a work of art is the artist's intention, if he succeeds to express it in his work and we are able to understand it. Michelangelo's Moses established the essential structures of an animate organism and the embodiment of consciousness in the world. Since the body is an expressive unit, it is possible to reconstruct a highly feasible sequence of movements that might have preceded the moment caught in the statue. It is an expression of the highest ideal of mental and spiritual achievement through the controlled tension between action and restraint. The phenomenon of embodiment and feeling the body as own is the basis of concrete human existence.