www.esculturasemsaopaulo.blogspot.com:
"Diálog" Franz Weissmann - escultura em aço 4,43m x 5,15m x 1,50m 1979.
www.itaucultural.org.br:
Franz Weissmann (Knittelfed, Austria, 1911 '' Rio de Janeiro, Brazil, 2005) was an artist who envisioned the macro in the micro: his production ranged from small maquettes to large-scale sculptures, one of the hallmarks of his work. A key artist in the neoconcrete movement, he was interested in seeing his creations shown on sidewalks and in public squares, precisely to ensure widespread access to them.
'My idea is to make larger-scale sculptures for public squares, mainly. I am very much interested in having my sculptures in public squares, where the public passes by and participates. One day a member of the public passes by, thinking that it's no good, another day he or she passes by and thinks it's better. And little by little understands the work.' This statement is by Weissmann himself, in the documentary Franz Weismann '' The Music of Silence, directed by Moacir de Oliveira.
The spreadthis artist through the public space sprang from his idea that the work of art should have a more intimate and direct contact with the spectator. 'He was an essential artist '' just like the concrete and neoconcrete artists active at the same time as him '' to think about the street as a place for artworks to occupy. These artworks founded a space in the city, by transforming the places where they were based into zones of feeling, and by adding other possibilities of construction into a narrative of the city and nation. That they were able to do this is owing to how they were not merely more busts or monuments honoring characters or heroes, defining an '˜official' history that was very restricted and in certain cases defeating the idea of a democratic country. They were artworks which on the one hand bore a developmentalist, urban industrial thinking, very much identified with the 1950s, and, on the other, created effective bonds between pedestrians, artwork and city,' states Felipe Scovino, curator bition Franz Weissmann: o Vazio como Forma [Franz Weissmann: Emptiness As Form].
The aim of this site is to map the public artworks by Weissmann in Rio de Janeiro and in Sào Paulo, installed on streets and in public squares and parks. www.wikipedia.org: Franz Joseph Weissmann (Knittelfeld, September 15, 1911 - Rio de Janeiro, July 18, 2005) was a Brazilian sculptor. The Judeo-Austrian Weissmann family emigrated to Brazil in 1924. Franz Weismann grew up in the capital Rio de Janeiro, where he studied architecture, sculpture and drawing at the Escola Nacional de Belas Artes (ENSA) from 1939 to 1941, followed by a less academic training in the studio of the from 1942 to 1944. Polish-born sculptor August Zamoyski. In 1945 he left for Belo Horizonte in the state of Minas Gerais, where he taught. From 1948 he taught sculpture at the Escola Guignard. His style of work gradually changed from figurative art to geometric-abstract art. His first constructivist work Cubo Vazado was rejected by the jury of the firstSào Paulo Biennale in 1951. In 1955 he became a member of the artists group Grupo Frente. In 1956 he returned, after the group was dissolved, he returned to Rio de Janeiro, where in 1957 he took part in the national exhibition of concrete art. In 1959, together with Amàlcar de Castro and Hélio Oiticica, he founded a group f"neo-concrete" art, the Grupo Neoconcreto. From 1959 to 1965 Weissmann stayed in Europe, where he stayed in Spain for a long time (with Jorge Oteiza, among others). He also visited Asia. In the 1970s he took part in the Venice Biennale in Venice and the Biennale Middelheim (Open-air museum for sculpture Middelheim) in Antwerp. Vertaling: Franz Joseph Weissmann (Knittelfeld, 15 september 1911 '' Rio de Janeiro, 18 juli 2005) was een Braziliaanse beeldhouwer. De Joods-Oostenrijkse familie Weissmann emigreerde in 1924 naar Brazilià«. Franz Weismann groeide op in de hoofdstad Rio de Janeiro, waar hij van 1939 tot 1941 architectuur, beeldhouwkunst en tekenen studeerde aan de Escola Nacional de Belas Artes (ENSA), van 1942 tot 1944 gevolgd door een minder academische opleiding in het atelier van de uit Polen afkomstige beeldhouwer August Zamoyski. In 1945 vertrok hij naar Belo Horizonte in de deelstaat Minas Gerais, waar hij lesgaf. Vanaf 1948 was hij docent beeldhouwkunst aan de Escola Guignard. Zijn stijl van werken veranderdeleidelijk van figuratieve kunst naar geometrisch-abstracte kunst. Zijn eerste constructivistische werk Cubo Vazado werd door de jury van de eerste Bià«nnale van Sào Paulo in 1951 geweigerd. In 1955 werd hij lid van de kunstenaarsgroepering Grupo Frente. In 1956 keerde hij, na de opheffing van de groep, terug naar Rio de Janeiro, waar hij in 1957 deelnam aan de nationale expositie concrete kunst. In 1959 was hij met onder anderen Amàlcar de Castro en Hélio Oiticica oprichter van een groepering v"neo-concrete" kunst, de Grupo Neoconcreto. Van 1959 tot 1965 verbleef Weissmann in Europa, waar hij langdurig in Spanje verbleef (onder anderen bij Jorge Oteiza). Ook bezocht hij Azià«. In de zeventiger jaren nam hij deel aan de Bià«nnale van Venetià« in Venetià« en de Bià«nnale Middelheim (Openluchtmuseum voor beeldhouwkunst Middelheim) in Antwerpen.
"Diálog" Franz Weissmann - escultura em aço 4,43m x 5,15m x 1,50m 1979.
www.itaucultural.org.br:
Franz Weissmann (Knittelfed, Austria, 1911 '' Rio de Janeiro, Brazil, 2005) was an artist who envisioned the macro in the micro: his production ranged from small maquettes to large-scale sculptures, one of the hallmarks of his work. A key artist in the neoconcrete movement, he was interested in seeing his creations shown on sidewalks and in public squares, precisely to ensure widespread access to them.
'My idea is to make larger-scale sculptures for public squares, mainly. I am very much interested in having my sculptures in public squares, where the public passes by and participates. One day a member of the public passes by, thinking that it's no good, another day he or she passes by and thinks it's better. And little by little understands the work.' This statement is by Weissmann himself, in the documentary Franz Weismann '' The Music of Silence, directed by Moacir de Oliveira.
The spreadthis artist through the public space sprang from his idea that the work of art should have a more intimate and direct contact with the spectator. 'He was an essential artist '' just like the concrete and neoconcrete artists active at the same time as him '' to think about the street as a place for artworks to occupy. These artworks founded a space in the city, by transforming the places where they were based into zones of feeling, and by adding other possibilities of construction into a narrative of the city and nation. That they were able to do this is owing to how they were not merely more busts or monuments honoring characters or heroes, defining an '˜official' history that was very restricted and in certain cases defeating the idea of a democratic country. They were artworks which on the one hand bore a developmentalist, urban industrial thinking, very much identified with the 1950s, and, on the other, created effective bonds between pedestrians, artwork and city,' states Felipe Scovino, curator bition Franz Weissmann: o Vazio como Forma [Franz Weissmann: Emptiness As Form].
The aim of this site is to map the public artworks by Weissmann in Rio de Janeiro and in Sào Paulo, installed on streets and in public squares and parks. www.wikipedia.org: Franz Joseph Weissmann (Knittelfeld, September 15, 1911 - Rio de Janeiro, July 18, 2005) was a Brazilian sculptor. The Judeo-Austrian Weissmann family emigrated to Brazil in 1924. Franz Weismann grew up in the capital Rio de Janeiro, where he studied architecture, sculpture and drawing at the Escola Nacional de Belas Artes (ENSA) from 1939 to 1941, followed by a less academic training in the studio of the from 1942 to 1944. Polish-born sculptor August Zamoyski. In 1945 he left for Belo Horizonte in the state of Minas Gerais, where he taught. From 1948 he taught sculpture at the Escola Guignard. His style of work gradually changed from figurative art to geometric-abstract art. His first constructivist work Cubo Vazado was rejected by the jury of the firstSào Paulo Biennale in 1951. In 1955 he became a member of the artists group Grupo Frente. In 1956 he returned, after the group was dissolved, he returned to Rio de Janeiro, where in 1957 he took part in the national exhibition of concrete art. In 1959, together with Amàlcar de Castro and Hélio Oiticica, he founded a group f"neo-concrete" art, the Grupo Neoconcreto. From 1959 to 1965 Weissmann stayed in Europe, where he stayed in Spain for a long time (with Jorge Oteiza, among others). He also visited Asia. In the 1970s he took part in the Venice Biennale in Venice and the Biennale Middelheim (Open-air museum for sculpture Middelheim) in Antwerp. Vertaling: Franz Joseph Weissmann (Knittelfeld, 15 september 1911 '' Rio de Janeiro, 18 juli 2005) was een Braziliaanse beeldhouwer. De Joods-Oostenrijkse familie Weissmann emigreerde in 1924 naar Brazilià«. Franz Weismann groeide op in de hoofdstad Rio de Janeiro, waar hij van 1939 tot 1941 architectuur, beeldhouwkunst en tekenen studeerde aan de Escola Nacional de Belas Artes (ENSA), van 1942 tot 1944 gevolgd door een minder academische opleiding in het atelier van de uit Polen afkomstige beeldhouwer August Zamoyski. In 1945 vertrok hij naar Belo Horizonte in de deelstaat Minas Gerais, waar hij lesgaf. Vanaf 1948 was hij docent beeldhouwkunst aan de Escola Guignard. Zijn stijl van werken veranderdeleidelijk van figuratieve kunst naar geometrisch-abstracte kunst. Zijn eerste constructivistische werk Cubo Vazado werd door de jury van de eerste Bià«nnale van Sào Paulo in 1951 geweigerd. In 1955 werd hij lid van de kunstenaarsgroepering Grupo Frente. In 1956 keerde hij, na de opheffing van de groep, terug naar Rio de Janeiro, waar hij in 1957 deelnam aan de nationale expositie concrete kunst. In 1959 was hij met onder anderen Amàlcar de Castro en Hélio Oiticica oprichter van een groepering v"neo-concrete" kunst, de Grupo Neoconcreto. Van 1959 tot 1965 verbleef Weissmann in Europa, waar hij langdurig in Spanje verbleef (onder anderen bij Jorge Oteiza). Ook bezocht hij Azià«. In de zeventiger jaren nam hij deel aan de Bià«nnale van Venetià« in Venetià« en de Bià«nnale Middelheim (Openluchtmuseum voor beeldhouwkunst Middelheim) in Antwerpen.