Objetivo:
O objetivo da Conferência Nacional Infantojuvenil pelo Meio Ambiente (CNIJMA) é pedagógico e busca apoiar as Secretarias Estaduais, Municipais e Distrital de Educação na promoção da participação social. Incentiva a mobilização e a ação sobre a dimensão política e social da questão ambiental, bem como a sua inserção e apropriação pelos sistemas de ensino nas dimensões de gestão, currículo e infraestrutura das unidades escolares.
Ações:
Realização das etapas preparatórias para a Conferência Nacional, que incluem a formação de professores e conferências nas escolas do ensino fundamental.
Disponibilizar materiais de referência para todas as escolas de ensino fundamental a fim de subsidiar o processo de debate e mobilização dos(as) estudantes nas etapas da CNIJMA;
Como Acessar:
As Secretarias de Educação dos Estados e Distrito Federal devem, aguardar convocação da CNIJMA pelo Ministério da Educação e incluir esta ação no Plano de Ações Articuladas Estadual (PAR) para apoio a realização das conferências.
Documentos:
Lei nº. 9.795, de 27 de abril de 1999 - Dispõe sobre a educação ambiental, Institui a Política Nacional de Educação Ambiental e dá outras providências;
Decreto nº 5 de junho de 2003, que convoca os estados a realizarem a I Conferência Infanto-juvenil pelo Meio Ambiente;
Relatório Final da I Conferência Infanto- juvenil pelo Meio Ambiente, 2003;
René François Ghislain Magritte(French: ; 21 November 1898 – 15 August 1967) was a Belgiansurrealist artist. He became well known for creating a number of witty and thought-provoking images. Often depicting ordinary objects in an unusual context, his work is known for challenging observers' preconditioned perceptions of reality. His imagery has influenced pop, minimalist and conceptual art.
Early life
René Magritte was born in Lessines, in the province of Hainaut, Belgium, in 1898. He was the oldest son of Léopold Magritte, a tailor and textile merchant,[1] and Régina (née Bertinchamps), who was a milliner before she got married. Little is known about Magritte's early life. He began lessons in drawing in 1910. On 12 March 1912, his mother committed suicide by drowning herself in the River Sambre. This was not her first attempt at taking her own life; she had made many over a number of years, driving her husband Léopold to lock her into her bedroom. One day she escaped, and was missing for days. Her body was later discovered a mile or so down the nearby river.
According to a legend, 13-year-old Magritte was present when her body was retrieved from the water, but recent research has discredited this story, which may have originated with the family nurse.[2] Supposedly, when his mother was found, her dress was covering her face, an image that has been suggested as the source of several of Magritte's paintings in 1927–1928 of people with cloth obscuring their faces, including Les Amants.[3]
Career
Magritte's earliest paintings, which date from about 1915, were Impressionistic in style.[2] From 1916 to 1918, he studied at the Académie Royale des Beaux-Arts in Brussels, under Constant Montald, but found the instruction uninspiring. The paintings he produced during the years 1918–1924 were influenced by Futurism and by the figurative Cubism of Metzinger.[2] In 1922, Magritte married Georgette Berger, whom he had met as a child in 1913.[1] From December 1920 until September 1921, Magritte served in the Belgian infantry in the Flemish town of Beverlo near Leopoldsburg. In 1922–23, he worked as a draughtsman in a wallpaper factory, and was a poster and advertisement designer until 1926, when a contract with Galerie 'Le Centaure' in Brussels made it possible for him to paint full-time. In 1926, Magritte produced his first surreal painting, The Lost Jockey (Le jockey perdu), and held his first exhibition in Brussels in 1927. Critics heaped abuse on the exhibition. Depressed by the failure, he moved to Paris where he became friends with André Breton and became involved in the surrealist group. The illusionistic, dream-like quality is characteristic of Magritte's version of Surrealism. He became a leading member of the movement, and remained in Paris for three years.[4]
Galerie 'Le Centaure' closed at the end of 1929, ending Magritte's contract income. Having made little impact in Paris, Magritte returned to Brussels in 1930 and resumed working in advertising.[5] He and his brother, Paul, formed an agency which earned him a living wage. In 1932 he joined the Communist Party, which he would periodically leave and rejoin for several years.[5]
During the early stages of his career, the British surrealist patron Edward Jamesallowed Magritte to stay rent free in his London home and paint. James is featured in two of Magritte's works painted in 1937, Le Principe du Plaisir (The Pleasure Principle) and La Reproduction Interdite, a painting also known as Not to be Reproduced.[6]
During the German occupation of Belgium in World War II he remained in Brussels, which led to a break with Breton. He briefly adopted a colorful, painterly style in 1943–44, an interlude known as his "Renoir Period", as a reaction to his feelings of alienation and abandonment that came with living in German-occupied Belgium. In 1946, renouncing the violence and pessimism of his earlier work, he joined several other Belgian artists in signing the manifesto Surrealism in Full Sunlight.[7] During 1947–48, Magritte's "Vache Period", he painted in a provocative and crude Fauvestyle. During this time, Magritte supported himself through the production of fake Picassos, Braques and Chiricos—a fraudulent repertoire he was later to expand into the printing of forged banknotes during the lean postwar period. This venture was undertaken alongside his brother Paul Magritte and fellow Surrealist and 'surrogate son' Marcel Mariën, to whom had fallen the task of selling the forgeries.[8] At the end of 1948, he returned to the style and themes of his prewar surrealistic art.
His work was exhibited in the United States in New York in 1936 and again in that city in two retrospective exhibitions, one at the Museum of Modern Art in 1965, and the other at the Metropolitan Museum of Art in 1992.
Politically, Magritte stood to the left, and retained close ties to the Communist Party, even in the post-war years. However, he was critical of the functionalist cultural policy of the communist left, stating that "Class consciousness is as necessary as bread; but that does not mean that workers must be condemned to bread and water and that wanting chicken and champagne would be harmful. (...) For the Communist painter, the justification of artistic activity is to create pictures that can represent mental luxury". While remaining committed to the political left, he thus advocated a certain autonomy of art.[9] [10] On his religious views, Magritte was an agnostic.[11]
Popular interest in Magritte's work rose considerably in the 1960s, and his imagery has influenced pop, minimalist and conceptual art.[12] In 2005 he came 9th in the Walloon version of De Grootste Belg (The Greatest Belgian); in the Flemish version he was 18th.
Personal life
Magritte married Georgette Berger in June 1922. Georgette was the daughter of a butcher in Charleroi, and had first met Magritte when she was only 13 and he was 15. They met again in Brussels in 1920[13] and Georgette subsequently became Magritte's model and muse. In 1936 Magritte's marriage got into trouble when he met a young artist, Sheila Legge, and began an affair. Magritte arranged for his friend, Paul Colinet, to entertain and distract Georgette, but this led to an affair between his wife and Colinet. Magritte and his wife did not reconcile until 1940.[14]
It is a union that suggests the essential mystery of the world. Art for me is not an end in itself, but a means of evoking that mystery.
René Magritte on putting seemingly unrelated objects together in juxtaposition[15]
Magritte's work frequently displays a collection of ordinary objects in an unusual context, giving new meanings to familiar things. The use of objects as other than what they seem is typified in his painting,[16] The Treachery of Images (La trahison des images), which shows a pipe that looks as though it is a model for a tobacco store advertisement. Magritte painted below the pipe "Ceci n'est pas une pipe" ("This is not a pipe"),[17] which seems a contradiction, but is actually true: the painting is not a pipe, it is an image of a pipe. It does not "satisfy emotionally"—when Magritte was once asked about this image, he replied that of course it was not a pipe, just try to fill it with tobacco.[18]
Magritte used the same approach in a painting of an apple: he painted the fruit and then used an internal caption or framing device to deny that the item was an apple. In these "Ceci n'est pas" works, Magritte points out that no matter how naturalistically we depict an object, we never do catch the item itself.
Among Magritte's works are a number of surrealist versions of other famous paintings. Elsewhere, Magritte challenges the difficulty of artwork to convey meaning with a recurring motif of an easel, as in his The Human Condition series (1933, 1935) or The Promenades of Euclid (1955) (wherein the spires of a castle are "painted" upon the ordinary streets which the canvas overlooks). In a letter to André Breton, he wrote of The Human Condition that it was irrelevant if the scene behind the easel differed from what was depicted upon it, "but the main thing was to eliminate the difference between a view seen from outside and from inside a room."[19] The windows in some of these pictures are framed with heavy drapes, suggesting a theatrical motif.[20]
Magritte's style of surrealism is more representational than the "automatic" style of artists such as Joan Miró. Magritte's use of ordinary objects in unfamiliar spaces is joined to his desire to create poetic imagery. He described the act of painting as "the art of putting colors side by side in such a way that their real aspect is effaced, so that familiar objects—the sky, people, trees, mountains, furniture, the stars, solid structures, graffiti—become united in a single poetically disciplined image. The poetry of this image dispenses with any symbolic significance, old or new."[21]
René Magritte described his paintings as "visible images which conceal nothing; they evoke mystery and, indeed, when one sees one of my pictures, one asks oneself this simple question, 'What does that mean?'. It does not mean anything, because mystery means nothing either, it is unknowable."[22]
Magritte's constant play with reality and illusion has been attributed to the early death of his mother. Psychoanalysts who have examined bereaved children have hypothesized that Magritte's back and forth play with reality and illusion reflects his "constant shifting back and forth from what he wishes—'mother is alive'—to what he knows—'mother is dead' ".[23]
Magritte's use of simple graphic and everyday imagery has been compared to that of the Pop artists. His influence in the development of Pop art has been widely recognized,[25] although Magritte himself discounted the connection. He considered the Pop artists' representation of "the world as it is" as "their error", and contrasted their attention to the transitory with his concern for "the feeling for the real, insofar as it is permanent."[25] The 2006–2007 LACMA exhibition "Magritte and Contemporary Art: The Treachery of Images" examined the relationship between Magritte and contemporary art.[26]
According to Ellen Burstyn, in the 1998 documentary The Fear of God: 25 Years of "The Exorcist", the iconic poster shot for the film The Exorcist was inspired by Magritte's L'Empire des Lumières.
In the 1992 movie Toys, Magritte's work was influential in the entire movie but specifically in a break-in scene, featuring Robin Williams and Joan Cusack in a music video hoax. Many of Magritte's works were used directly in that scene.
In John Green's fictional novel (2012) and movie (2014), The Fault In Our Stars, the main character Hazel Grace Lancaster wears a tee shirt with Magritte's, The Treachery of Images, (This is not a pipe.) Just prior to leaving her mother to visit her favorite author, Hazel explains the drawing to her confused mother and states that the author's novel has "several Magritte references," clearly hoping the author will be pleased with the reference.
Magritte Museum
The Magritte Museum opened to the public on 30 May 2009 in Brussels.[32] Housed in the five-level neo-classical Hotel Altenloh, on the Place Royale, it displays some 200 original Magritte paintings, drawings and sculptures[33] including The Return, Scheherazade and The Empire of Lights.[34] This multidisciplinary permanent installation is the biggest Magritte archive anywhere and most of the work is directly from the collection of the artist's widow, Georgette Magritte, and from Irene Hamoir Scutenaire, who was his primary collector.[35] Additionally, the museum includes Magritte's experiments with photography from 1920 on and the short surrealist films he made from 1956 on.[35]
Another museum is located at 135 Rue Esseghem in Brussels in Magritte's former home, where he lived with his wife from 1930 to 1954. A painting, Olympia (1948), a nude portrait of Magritte's wife by Magritte, was stolen from this museum on the morning of 24 September 2009 by two armed men. The stolen work is said to be worth about US$1.1 million.[36] [37] [38] Olympia was returned to the museum early January 2012. The thieves handed back the painting because they were unable to sell it on the black market due to its fame.[39]
Selected list of works
1920 Landscape
1922 The Station and L'Écuyère
1923 Self-portrait, Sixth Nocturne, Georgette at the Piano and Donna
1925 The Bather and The Window
1926 The Lost Jockey, The Mind of the Traveler, Sensational News, The Difficult Crossing, The Vestal's Agony, The Midnight Marriage, The Musings of a Solitary Walker, After the Water the Clouds, Popular Panorama, Landscape and The Encounter
1927 Young Girl Eating a Bird, The Oasis (started in 1925), Le Double Secret, The Meaning of Night, Let Out of School, The Man from the Sea, The Tiredness of Life, The Light-breaker, A Passion for Light, The Menaced Assassin, Reckless Sleeper, La Voleuse, The Fast Hope, L'Atlantide and The Muscles of the Sky
1928 The Lining of Sleep (started in 1927), Intermission (started in 1927), The Adulation of Space (started in 1927), The Flowers of the Abyss, Discovery, The Lovers I & II,[3] The Voice of Space, The False Mirror, The Daring Sleeper, The Acrobat's Ideas, The Automaton, The Empty Mask, Reckless Sleeper, The Secret Life and Attempting the Impossible
1936 Surprise Answer, Clairvoyance, The Healer, The Philosopher's Lamp, Spiritual Exercises, Portrait of Irène Hamoir, La Méditation and Forbidden Literature
1940 The Return, The Wedding Breakfast and Les Grandes Espérances
1941 The Break in the Clouds
1942 Misses de L'Isle Adam, L'Ile au Tréson, Memory, Black Magic, Les compagnons de la peur and The Misanthropes
1943 The Return of the Flame, Universal Gravitation and Monsieur Ingres's Good Days
1944 The Good Omens
1945 Treasure Island, Les Rencontres Naturelles and Black Magic
1946 L'Intelligence and Les Mille et une Nuits
1947 La Philosophie dans le boudoir, The Cicerone, The Liberator, The Fair Captive, La Part du Feu and The Red Model
1948 Blood Will Tell, Memory, The Mountain Dweller, The Art of Life, The Pebble, The Lost Jockey, God's Solon, Shéhérazade, L'Ellipse and Famine and The Taste of Sorrow
1949 Megalomania, Elementary Cosmogany, and Perspective, the Balcony
1950 Making an Entrance, The Legend of the Centuries, Towards Pleasure, The Labors of Alexander, The Empire of Light II, The Fair Captive and The Art of Conversation
1951 David's Madame Récamier (parodying the Portrait of Madame Récamier), Pandora's Box, The Song of the Violet, The Spring Tide and The Smile
1957 The Fountain of Youth and The Enchanted Domain
1958 The Golden Legend, Hegel's Holiday, The Banquet and The Familiar World
1959 The Castle in the Pyrenees, The Battle of the Argonne, The Anniversary, The Month of the Grape Harvest and La clef de verre (The Glass Key)
1960 The Memoirs of a Saint
1962 The Great Table, The Healer, Waste of Effort, Mona Lisa (circa 1962) and L'embeillie (circa 1962)
1963 The Great Family, The Open Air, The Beautiful Season, Princes of the Autumn, Young Love, La Recherche de la Vérité and The Telescope and " The Art Of Conversation"
1964 Le soir qui tombe (Evening Falls), The Great War, The Son of Man and Song of Love
1965 Le Blanc-Seing,Carte Blanche, The Thought Which Sees, Ages Ago and The Beautiful Walk (circa 1965)
1966 The Shades, The Happy Donor, The Gold Ring, The Pleasant Truth, The Two Mysteries, and The Mysteries of the Horizon
1967 Les Grâces Naturelles, La Géante, The Blank Page, Good Connections, The Art of Living, L'Art de Vivre and several bronze sculptures based on Magritte's previous works
Jacques Meuris (1994). René Magritte, 1898-1967. Benedikt Taschen. p. 70. ISBN 9783822805466. We shall not at this juncture risk analyzing an agnostic Magritte haunted perhaps by thoughts of ultimate destiny. "We behave as if there were no God" (Marien 1947).
Alden, Todd (1999). The Essential Magritte. Two Editions. ISBN 0-7607-8567-8.
Allmer, Patricia (2009). René Magritte - Beyond Painting. Manchester: Manchester University Press. ISBN 0-7190-7928-4.
Allmer, Patricia (2017) This Is Magritte London: Laurence King. ISBN 9781780678504
Allmer, Patricia (2007), ‘Dial M for Magritte’ in "Johan Grimonprez - Looking for Alfred", eds. Steven Bode and Thomas Elsaesser, London: Film and Video Umbrella.
Allmer, Patricia (2007), ‘René Magritte and the Postcard’ in "Collective Inventions: Surrealism in Belgium Reconsidered", eds. Patricia Allmer and Hilde van Gelder, Leuven: Leuven University Press.
Allmer, Patricia (2007) ‘Failing to Create - Magritte, Artistry, Art History’ in From Self to Shelf: The Artist Under Construction, ed. William May, Cambridge: Cambridge Scholars Publishing.
Allmer, Patricia (2006) ‘Framing the Real: Frames and the Process of Framing in René Magritte’s Œuvre’, in Framing Borders in Literature and Other Media, eds. Walter Bernhart and Werner Wolf, Amsterdam: Rodopi.
Bertolucci, Bernardo; Gérard, F. S.; Kline, T. J. (2000). Bernardo Bertolucci: Interviews. Jackson: Miss. ISBN 1-57806-205-5.
Calvocoressi, Richard (1990). Magritte. New York: Watson-Guptill. ISBN 0-8230-2962-X.
Fragola, Anthony; Smith, Roch C. (1995). The Erotic Dream Machine: Interviews with Alain Robbe-Grillet on His Films. SIU Press. ISBN 0-8093-2004-5.
Kaplan, Gilbert E. & Baum, Timothy (1982). The Graphic Work of René Magritte. Two Editions. ISBN 0-686-39199-3.
Levy, Silvano (1997). Surrealism: Surrealist visuality. Edinburgh: Keele University Press. ISBN 1-85331-193-6.
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