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Milutin Jovanović belongs to the generation of architects who significantly contributed to the urban and architectural development of Belgrade between the two world wars. However, since there has been no adequate valorization of his creativity, a complete list of his achievements and basic biographical data have remained completely unknown. By reconstructing Jovanović’s works, chronologically systematized data about his movement in the architectural profession was obtained. He began his professional engagement as an assistant at the architectural department of the Belgrade Technical Faculty, and later devoted himself to private practice. During the entire interwar period, Jovanović designed dozens of residential buildings and one hotel, and was also dedicated to other design tasks. He was hired by wealthy representatives of the middle class – merchants, clerks, doctors, entrepreneurs and many others, for whom he designed predominantly representative high-rise residential buildings throughout the central city core. In accordance with the developments on the architectural scene of that time, respecting the requests of the clients, his achievements were in two dominant stylistic directions – academicism and modernism. The discovery of buildings designed in the spirit of modernism is particularly significant, because for a long time it was considered that Jovanović’s main style was academicism. Given the lack of personal legacy and complete historiographical sources, the research was based on studying of the fund of the Technical Directorate of the City of Belgrade stored in the Historical Archive of Belgrade. Therefore, this work is the first monographic review of the life and work of the architect Milutin Jovanović.

International audience; In 1670, the marriage between Giovanni Battista Rospigliosi, nephew of Pope Clemente IX, and Maria Camilla Pallavicini, of Genoese origin, ratified the creation of a new dynasty: the house of Rospigliosi-Pallavicini. Both husband and wife were descended from non-Roman families; together they worked hard to consolidate their social advancement. Both were cultured, avid art collectors and music patrons; each cultivated individual interests and tastes. The Duchess Rospigliosi, in particular, made a name for herself at the beginning of the 1690s through the promotion of a series of operas in the theatre of the Palazzo al Quirinale, where the new family resided. This essay analyses various types of sources, such as chronicles, avvisi (manuscript newsletters), librettos, and celebratory poems related to these events, with two main goals: to reconstruct the network of literati, artists, and musicians who gravitated around the Rospigliosi, and to uncover the ways in which the Duchess successfully made herself visible on the Roman ‘stage’ at the end of the seventeenth century.

As the forerunners to the Paris Opera, the Académie d’opéras (1669-1672) and the Académie royale de musique (1672-1791) inspired first historical then aesthetic research, research that appeared very steadily through the eighteenth, nineteenth, and twentieth centuries. At the beginning of the twenty-first century, researchers and performers alike began to change their perspective on the institution and its legacy, shifting away from the Académie’s image as a tool used in the propaganda machine and towards a focus on aspects of performance practice. However, despite the scale and diversity of the current body of scholarship, many facets of the Académie royale de musique remain unexplored. It was first and foremost a cultural institution, one that developed its own identity and savoir-faire, some aspects of which still need to be uncovered. This study aims to reconsider the institution from a new angle, thanks to an interdisciplinary approach and three sustained motivations: questioning the institution’s very nature, as well as its place and status in the French academic network; highlighting practical, logistical, and material questions as yet unexplored; and reevaluating not only its interactions with other theatres in Paris, at court, and in the provinces, but also the ways its repertoire spread in general. For once, poets and composers are not the main subject. We choose to concentrate instead on those who helped the pieces to exist and to come to life: directors and administrators, performers, teachers, and craftsmen. The papers focus on their hierarchical relationships, their decision-making authority, and their respective responsibilities, in order to better understand all that the fashioning of operas entails.

The article analyzes the attitude of Charles Frederick Worth (1825–1895) towards the changes that took place in women’s fashion from the mid-nineteenth century. The key point of his activity was to present himself as an artist. The author presents both the genesis of such an attitude and its consequences for the next generations of designers. A complementary issue taken by the Author is the problem of applied arts and involvement of artists in the design of everyday objects. Both in France and in England, Worth’s homeland. Artykuł analizuje postawę Charlesa Fredericka Wortha (1825–1895) wobec zmian, jakie zachodziły w modzie damskiej od połowy XIX wieku. Zasadniczą kwestią jest prezentowanie siebie jako artysty. Autor przedstawia zarówno genezę takiej postawy, jak i jej konsekwencje dla innych projektantów. Uzupełniającą kwestię stanowi problem sztuk użytkowych i angażowanie się artystów w projektowanie przedmiotów codziennego użytku. Zarówno we Francji, jak i w Anglii, ojczyźnie Wortha.

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S. Rokotov. The purpose of the article is to substantiate the versatility of interpretations and the cultural significance of the images of the Empress in the mainstream of both domestic and European painting. The study was conducted using a comprehensive systematic approach, through the analysis, including comparative, of works in the chronological framework of the second half of the XVIII century. The interdisciplinary nature of the text, at the junction of several scientific disciplines: cultural studies, art history, history, aesthetics, is determined by the specifics of the declared topic. The artistic language of Rokotov is considered as a single, but multi-component structure. A certain cultural code in the iconographically clearly defined official interpretations of the image of the Empress is a kind of symbol of her era in the fields of politics, culture, aesthetics, and philosophy. At the same time, the synthesized artistic language of Rokotov, formed through multi-vector influences, reflects both the features of international academism, the specifics of a number of European art schools, and the echoes of the individual style of writing of specific painters. The results obtained are summarized in conclusions explaining the evolution of the display of portrait characteristics of the Empress when creating her generalized image as a wise enlightened ruler belonging to the widest possible sphere of culture. The use of a complex synthesized artistic language is objective from a cultural perspective, since it was possible to authentically reveal the meaning of the era of the rule of the ���German woman with a Russian soul���, its philosophical-religious, spiritual-aesthetic content, which has a timeless meaning for both European and domestic culture.

Ancient Egyptian and antique visions in the art of the Ukrainian artist of Polish origin Wilhelm Kotarbinski during the late 19th – the early 20th century were reviewed in this paper. The example of the aforementioned subjects was used to outline the essence ofstylistic transformations of the artist’s works in the period of the spreading of artistic trends related to salon academism, decadence, and symbolism. It has been stated that the classical works “a la antique” and the elements of ancient Egyptian art of Hellenistic period, included into the treasury of world art during the Empire period, formed the basis of the artistic language of the historicism era when they were re-experienced and rethought by the artists who got the academic education by specialty. The same well-studied primary elements became the art material through which the artists “lived through” the latest philosophical and aesthetic impressions and put new layers of meanings into them., Розглянуто звернення українського художника польського походження Вільгельма Котарбінського до давньоєгипетських й античних візій впродовж кінця XIX — початку XX століть. На прикладі згаданих тем окреслено сутність стилістичних трансформацій творчості художника в період поширення мистецьких віянь, пов’язаних із салонним академізмом, декадансом і символізмом. Зазначено, що класичні твори «на антик» та дотичні до них елементи давньоєгипетського мистецтва доби еллінізму, які увійшли до скарбниці світового мистецтва в період ампіру, склали основу художної мови доби історизму, коли були вдруге пережиті та переосмислені митцями, що пройшли академічну фахову освіту. Ці ж добре розучені першоелементи надалі стали художнім матеріалом, крізь призму якого митці «проживали» новітні філософсько-естетичні враження й вкладали у них нові нашарування смислів

De l’ambition soviétique de « professionnalisation » artistique aux théories et orchestrations musicales actuelles, l’académisme est le maître mot de l’institutionnalisation musicale étatique au Tadjikistan. Pourtant, les cadres des exécutions musicales dans ces lieux ne sont pas uniquement organisés selon les exigences étatiques. En effet, les musiciens négocient leurs enseignements et leurs interprétations selon leurs visions des musiques, et selon les objectifs sociaux et politiques de ces contextes. En outre, les organisations non étatiques, les fêtes rituelles et les concerts privés constituent autant d’institutions où s’affirme différemment l’autorité des savoirs. Au gré des enjeux portés par ces différents lieux, comment les musiciens participent-ils aux processus institutionnels, s’y opposent-ils, ou en jouent-ils pour consolider leur position ? Les procédures des savoirs mises en œuvre par les acteurs de ces mondes musicaux montrent comment ces institutions de savoir se fabriquent à travers des rapports de pouvoir, ainsi que les efforts des musiciens pour façonner à leur idée l’autorité artistique et pédagogique qu’ils y exercent. From the Soviet ambition of artistic “professionalization” to the contemporaneous musical theories and orchestrations, academism has been the key concept of state musical institutionalization in Tajikistan. Nevertheless, the frames of musical production in state institutions are not organised only according to state requirements. In fact, musicians negotiate their teachings and interpretations according to their own thoughts on music, while considering the socio-politic stakes at work in these contexts. Furthermore, non-state organisations, ritual celebrations and private concerts also act as institutions where to negotiate knowledges’ authorities. Musicians transform their productions and positions as they participate, oppose or play with institutional processes in order to assert their own authority. These musical knowledge proceedings thus inform us about the socio-political issues and negotiations at work in the making of knowledge’s institutions. Desde la ambición soviética de «profesionalización» artística hasta las actuales teorías y orquestaciones musicales, el academicismo es la palabra clave en la institucionalización estatal de la música en Tayikistán. Sin embargo, los marcos de las actuaciones musicales en estos lugares no sólo se organizan de acuerdo con los requisitos del estado. En efecto, los músicos negocian sus enseñanzas e interpretaciones en función de sus visiones de la música y de los retos socio-políticos en estos contextos. Además, las organizaciones no estatales, los festivales rituales y los conciertos privados son instituciones en las que la autoridad de los conocimientos se afirma de diferentes maneras. Según lo que está en juego en estos diferentes lugares, ¿cómo participan los músicos en los procesos institucionales? ¿se oponen a ellos o los utilizan para consolidar su posición? Los procedimientos implementados por los actores de estos mundos musicales muestran cómo estas instituciones de conocimiento se producen a través de las relaciones de poder, así como los esfuerzos de los músicos para conformar la autoridad artística y pedagógica que ejercen en ellos.

Архитектура међуратног раздобља у Црној Гори 1918 -1941. године до сада није била предмет темељитих и цјеловитих историографских истраживања. Стога је основни циљ овог рада да се проучавањем њене генезе, стилских токова и обиљежја, анализом дјела и указивањем на центре, ауторе и наручиоце пројеката, тема освијетли са различитих аспеката, систематично сагледа и отвори за даљe научнo проучавање. Током истраживања заснованог на методама савремене архитектонске историографије извршено је прикупљање, систематизација и анализа архивске, фототечке и хемеротечке грађе, евидентирање стања већег дијела објеката, а затим темељито проучавање литературе у циљу извођења објективних закључака, укључујући и њихову компаративну анализу. Утолико су, услед недостатка примарних извора, различити подаци понекад били тешко провјерљиви... The architecture of the interwar period in Montenegro, from 1918 to 1941, hasn’t been the subject of detailed and complete researches of historiography until now. Therefore, the main goal of this dissertation is to highlight the topic from various aspects, to examine it systematically and make it open for further scientific studies, and all this through the examination of its genesis and stylistic directions and features, analyzing the works and pointing to the centers, authors and project purchasers. During the research, based on the methods of contemporary architectural historiography, next things were done: a lot of objects were noted; the collection, systematization and analysis of archival, photographic and newspaper material; the accurate study of the literature, in order to make objective conclusions, including their comparative analysis. Due to the lack of primary sources various data were sometimes difficult to verify...

The architecture of the interwar period in Montenegro, from 1918 to 1941, hasn’t been the subject of detailed and complete researches of historiography until now. Therefore, the main goal of this dissertation is to highlight the topic from various aspects, to examine it systematically and make it open for further scientific studies, and all this through the examination of its genesis and stylistic directions and features, analyzing the works and pointing to the centers, authors and project purchasers. During the research, based on the methods of contemporary architectural historiography, next things were done: a lot of objects were noted; the collection, systematization and analysis of archival, photographic and newspaper material; the accurate study of the literature, in order to make objective conclusions, including their comparative analysis. Due to the lack of primary sources various data were sometimes difficult to verify...

L’Institut Philippe-Pinel (IPPM) et le Département de psychiatrie de l’Université de Montréal, qui célèbrent tous deux leurs 50 ans, ont des parcours intriqués et une longue histoire de collaboration. Dès sa conception d’ailleurs à partir de l’Hôpital psychiatrique de Bordeaux, l’IPPM se destinait à devenir un lieu de formation et d’enseignement dans le giron de l’Université de Montréal.Unique dans sa mission d’offrir des soins psychiatriques de pointe et des évaluations médico-légales à une clientèle présentant un risque élevé de violence, l’Institut Pinel a aussi su, au fil des ans, faire sa marque dans l’enseignement aux résidents et stagiaires, dans l’organisation de colloques nationaux et internationaux, dans la recherche et la publication d’ouvrages reconnus dans le champ de la psychiatrie légale.Avec à sa tête des directeurs généraux qui ont tous été psychiatres de formation, l’Institut a de tout temps contribué largement à la vie universitaire, par un engagement marqué de ses psychiatres au sein du Département. Avec l’arrivée de la surspécialité en psychiatrie légale, cet engagement et ce rayonnement ne peuvent que se poursuivre., The Institute Philippe-Pinel (IPPM) and the Département de psychiatrie de l’Université de Montréal, who are both celebrating their 50 years, have intricated paths and a long history of collaboration. Since its conception (1964), the Institute Philippe-Pinel was planned to become a site for training and teaching in the bosom of the Université de Montréal.Unique in its mission to offer state of the art psychiatric care and forensic assessments to patients presenting a high risk of violence, the Institute Philippe-Pinel, throughout the years, was also able to leave its mark by the way of academic teaching to psychiatric residents and trainees of all disciplines, of organizing national and international conferences, of research and by the publication of numerous articles and books in the field of forensic psychiatry.With, from its beginning, psychiatrists at its helm, the Institute Philippe-Pinel has at all times greatly contributed to the academic activity of the department. Highly committed psychiatric clinicians and professors were always involved at all levels of the psychiatric department. With the coming of the forensic subspecialty, the commitment and influence can only continue.

A prominent figure of academic historicism in the architecture of the Kingdom of Serbs, Croats and Slovenes/Yugoslavia between the two world wars, Nikolaj Petrovič Krasnov, academician of architecture of St. Petersburg's Academy of Arts, left a recognisable imprint on shaping the urban matrix of Belgrade. Krasnov's diverse and prolific output has begun to attract the attention of Russian and Serbian historians of architecture in the 1990s, becoming an unrivalled focus of the study of the legacy left by Russian-born architects in the former Yugoslavia. Despite significant advances made since then, the pace of research on Krasnov's Belgrade work is relatively slow. The goal of this paper, therefore, is to contribute to the body of historical work devoted to it by drawing attention to six as yet inadequately studied examples, three unexecuted concept designs and three residential/commercial buildings for private clients.

Искусство и культура. - 2017. - № 3. - С. 39-42., В статье рассматриваются некоторые аспекты педагогической и творческой деятельности художников Юделя Пэна, Марка Шагала, Казимира Малевича в Витебске, а также специфические особенности формирования и становления Витебской художественной школы в первой трети XX века. = The article deals with some aspects of pedagogical and creative activities of the painters Yu. Penn, M. Chagall, K. Malevich in Vitebsk as well as the peculiarities of shaping and development of Vitebsk art school in the early 20-th century.

Analyzing the avant-garde art, researchers emphasize its revolutionary, dissimilarity with previous trends. The article deals with the analysis of the peculiarities of teaching in Kiev's drawing school of Nicolas Murashko and the methodological analysis of the teaching system in Anthony Azhbe and Shimon Kholloshy's school. These schools had an affect on the worldview and skills of famous Ukrainian and Russian avant-garde artists.The researchers of the avant-garde art O. Fedoruk and V. Markade distinguish two periods of the Ukranian avant-garde. The first wave of avant-garde lasted from 1907 till 1914. During that period the Ukrainian artists adopted artistic achievements of the European masters. The second one lasted from 1917 till 1934. It was characterized by a consciousness and the national identity of Ukrainian avant-garde and the ideological provision on the top of its development.We begin our research from the analysis of the native art schools, which have influenced the education of future pioneers of Ukrainian avant-garde. So touching upon the art situation in Kiev at the beginning of the twentieth century, we have to underline the prominent role of Kiev's drawing school and its founder Nicolas Murashko. After the graduating of the St. Petersburg Art Academy Nicolas Murashko got the idea of founding an art school in Kiev. There was not any higher educational institutions that why many talented artists from Ukraine went to St. Petersburg to receive higher education such as K. Trutovsky, L. Zhemchuzhnikov, A. Slastion, E. Agathon, M. Berkos, M. Fedorov, A. Murashko, S. Vasilkovsky, M. Pimonenko, P. Levchenko, V. Orlovkuy etc. Some Ukrainian artists studied at the Moscow's Painting School, Sculpture and Architecture, such as S. Svyatoslavskyy, F. Krichevsky, M. Zuk, A. Archipenko. The researcher L. Savytska states that at the beginning of the twentieth century only three institutions study the artist. They were the Kiev's art colledge, Lavra icon-painting School and School typography. Kiev Art School followed the traditions of Nicolas Myrashko’s school. There were three main art instituions in Kharkov. They were Raevskaya M. Ivanova’s private drawing school, E. Agafonov’s studio"Blue lily" ("Blue Lily") and A. Groth and E. Steinberg studio.N. Murashko was an extremely thoughtful master and a talented teacher. He closely followed the modern artistic life and analyzed the artistic tendencies in the sociaty. So he critisized the academic system of teaching for its idealism and support the idea of the changable realist art.The important feature of Murashko’ school studing was the development of the artistic imagination by drawing on impressions or memories. Murashko borrowed it from Nikolai Kuznetsov, who was often abroad and brought out such exercise from there. Murashko felt that the system of getting skills had to be changed. The popularity of realistic art, the variability of the effects of light, color and impressionistic discoveries, changed the system of art learning. The cease transformed into the real art. Later, Alexander Bogomazov who had learnt N. Murashko’s technique, called the academism as the pernicious teaching method in his report at the National Congress of Artists in Kiev 1918.A. Ashbe and S. Holloshy’s Munich school played the great role in forming Russian and Ukrainian avant-garde because many native artists improved their professional skills in foreign art schools, studios, academies. Its system of teaching had the innovations, which would be used by many brilliant artists of the twentieth century. Anthony Ashbe taught the representatives of realistic school such as D. Kardovskyy, Russian impressionist I. Grabar and future abstractionist W. Kandinsky. Such wide variety of artistic trends tells us about his flexible system of teaching and his perfect technique. The researches of A. Ashbe’s school, N. Molyeva and E. Belyutin said that the basis of A. Ashbe’s creative method was the orientation on the transfering the most characteristic features of the model, finding the tools to portray nature without imposing any canons that constrained the artist’s vision. ".So, we can highlight some key points that distinguish N. Murashko, A. Ashbe and S. Holloshy’s schools from the academic system, such as the attention on the study of the living model and the lack of stable canons. The last one saves a student from the copying and helps to find their own way in art. A student has not to draw the reality, but to describe his/her feelings. This new principle, entitled "Art of feeling" (Malevich’s term) is used by the Impressionists and later avant-gardists., В статье рассматриваются особенности преподавательской системы трех школ искусств, которые своей методикой дали мощный толчок развитию дальнейших экспериментов с формой, цветом, фактурой, что явилось основой авангардной системы ценностей. Также стали решающими в формировании художественных личностей наиболее ярких представителей украинского авангарда первой трети ХХ в., которые своим творчеством обусловили окончательный разрыв живописи с академическими традициями., У статті розглядаються особливості викладацької системи трьох художніх шкіл, які своєю методикою дали потужний поштовх розвитку подальших експериментів з формою, кольором, фактурою, що лягло в основу авангардної системи цінностей. Також стали вирішальними у формуванні художніх особистостей найяскравіших представників українського авангарду першої третини ХХ ст., котрі своєю творчістю зумовили остаточний розрив живопису з академічними традиціями.

This paper analyzes important documents compiled by the sculptor Julieta França, the first Brazilian female artist to be awarded with a voyage abroad (towards the end of 1900). The album titled Souvenir de Ma Carrière Artistique [Memoirs of my Career as an Artist], part of the Museu Paulista of the University of São Paulo, is a reference as far as the history of Brazilian art is concerned because it brings together a variety of rare and invaluable documents - e.g. newspaper clippings, photographs of her own works, and letters exchanged with the Director of the National School of Fine Arts. The author tries to look at this album as an autobiography of distinctive character, where the artist selected, organized and attributed meaning to the documents for the purpose of obtaining public recognition for her work. O presente artigo procura analisar uma importante documentação realizada pela escultora Julieta de França, primeira mulher artista brasileira a conquistar o prêmio de viagem ao exterior (em finais de 1900). O álbum intitulado Souvenir de ma carrière artistique, hoje pertence ao acervo do Museu Paulista da Universidade de São Paulo, constitui uma referência para a história da arte brasileira, trazendo um conjunto variado de documentos - recortes de jornais, fotografias de obras suas, cartas trocadas com o Diretor da Escola Nacional de Belas Artes - de excepcional raridade e valor. Procura-se compreender o álbum como uma autobiografia de caráter particular, na qual a artista selecionou a documentação, organizou-a e nela inscreveu um sentido, almejando reconhecimento público de seu trabalho.

У статті проведено аналіз художньо-педагогічної освіти періоду ХVІІ-ХХІ століття. Проаналізовано ефективність академічної системи освіти та її реформування на підґрунті концептуальних ідей учених епохи Просвітництва. Розглянуто дидактичні та теоретичні методи формування фахових знань художника-педагога. Здійснено намір осмислення періодизації художньо-педагогічної освіти. Окреслено домінуючі методологічні підходи у викладанні фахових предметів у сучасній освіті. Визначено пріоритетні напрями у формуванні фахових знань майбутнього митця. Analysis of the artistic and pedagogical education of the period of ХVІІ-ХХІ century was researched in the article. Efficiency of the academic education system and its reformation on ideas of the age of Enlightenment was analyzed. Training features of art teachers in Europe and the creation of a national educational system and the preparation of national teacher staff in Ukraine were defined. Didactic and theoretical methods of professional knowledge formation of an artist-teacher are considered. Intention of periodization understanding of artistic and pedagogical education was implemented. The dominating methodological approaches in teaching of professional subjects in modern education were outlined. Priority areas in professional knowledge formation of future artist were determined.

Analysis of Brazilian painter Rodolpho Amoêdo’s (1857-1941) career path and works who earned a grant from Brazilian Imperial Academy of Fine Arts to stay in Paris between 1879 and 1887. Exposure to French contemporary art but also to that of the XVIIIth century, at the beginning, Amoêdo is influenced by French painters like Gustave Boulanger and Alexandre Cabanel, his first professors. At the end of his Paris stay, he gets closer to Puvis de Chavannes. His paintings become lighter, in a pre-symbolist style. Back to Brazil, in 1888, he is fond of literature and takes part to several societies founded by famous writers in Rio de Janeiro. His paintings, academic in their style but romantic in their environment, become more realistic and include greater personal and psychological dimensions. Occurrences of modern ladies in his works are more frequent : his works are closer to James Tissot’s ones. However, they encompass theatrical aspects which make them unique at the general organization level as well as at the direction of characters. His views about art were also founded on his deep knowledge of painting techniques and on positivism. Comments and critical analysis of works presented by the artist at exhibitions in Paris or at local or international exhibitions in Brazil. As a devoted professor at Rio de Janeiro School of Fine Arts, he worked directly for developing art in Brazil, especially during the transition period between XIXth century academic art and XXth century modern art., Analyse du parcours et de la production du peintre brésilien Rodolpho Amoêdo (1857-1941), pensionnaire de l’Académie Impériale (brésilienne) des Beaux-Arts à Paris, entre les années 1879 et 1887. Au contact avec l’art français contemporain, mais aussi celui du XVIIIème siècle, Amoêdo va d’abord subir l’influence de certains peintres français, comme Gustave Boulanger et Alexandre Cabanel, ses premiers maîtres. Mais vers la fin de son séjour parisien, il passe à s’intéresser à l’art de Puvis de Chavannes. Ses toiles deviennent alors plus claires et se rapprochent maintes fois d’un style pré-symboliste. De retour au Brésil en 1888, il s’intéresse à la littérature de son temps et il participe à divers cercles formés par de célèbres hommes de lettres à Rio de Janeiro. Sa peinture toujours académique dans la facture et romantique dans son contexte va évoluer vers un style réaliste plus intimiste et psychologique. Souvent la femme actuelle prenait une œuvre place importante dans ses représentations. Dans ce sens, il devient très à l’écoute de l’art de James Tissot. Toutefois, ses œuvres imprégnées de théâtralité font preuve d’originalité : tant au niveau de la composition comme de la mise-en-scène des personnages. Sa science des techniques de peinture et les idées positivistes ont aussi joué un rôle dans sa conception de l’art. Commentaires et critiques sur les œuvres présentées par l’artiste lors des Salons parisiens, des expositions brésiliennes et internationales. Comme enseignant dévoué à l’école des Beaux-Arts de Rio de Janeiro, il a collaboré directement au développement de l’art au Brésil, en particulier dans la période de transition entre l’art académique du XIXème et l’art moderne du XXème siècle.