Entre imagens e afetos: trajetórias e memórias de fotopinturas.

Abstract

This paper presents the research result on a set of photopintures belonging to private collections in the city of Vieirópolis, Paraíba. Although today It is common to find photopainting copies in the homes of the Northeast region, it is It should be noted that the technique has spread to various regions of Brazil, and is even much appreciated by D. Pedro II and his family. The highlight in this type of production is precisely the adding color to the images, something that the photographic record did not yet have the power to since originally there were only black and white photos, bringing these portraits of the paintings and popularizing them. In this research we analyzed a set of photopaintings found in residences in the city of Vieirópolis, high sertão paraibano. We seek to understand the production, circulation and negotiation processes that allow the order, and later the production of the photopaintings, besides investigating the memories built from the specimens. In the set of analyzed images we find couples and individual portraits, mostly produced after the death of pictured. Thus, from the analysis of this collection and the reports of its owners, it was specific patterns of this type of production can be observed, as well as alterations made in the original portrait, for example, in clothes, hair, jewelry, colors and even rejuvenating the portrayed, this last aspect being very important, since He wanted to "correct his imperfections." In some cases, it is the only existing record of the person portrayed because access to photography was difficult, and many families could not afford to recant frequently. Therefore, we base our study on Sérgio Micelli's sociology of art, where we start from a deep analysis of the images, searching their origins, the reasons for the order, the patterns, and yet, we use the studies Borosso Kossoy, thus relating the photographs to his memories, since the images are a source of affection and memories, as well as stressing the importance of research using iconography in its various modalities as sources, and in this In this case, the photopaintings.