A natureza arquitetônica das obras de Sérgio Camargo
type: CreativeWork
description: This research has sought to explicit the architectural quality in the work of Sérgio Camargo. The ‘architectonic nature’, or architectural quality, lies in the reference of the works in question to architecture. These works are connected with the phase of the reliefs via the investigation that Camargo undertakes of the relationship between volume and plane and between shape and matter. We have realized that we were dealing with a passage, that is, a kind of of entr’acte between the reliefs – the artist’s best known phase – and the ’whales’, the final phase of his work. This passage has proved essential for a better comprehension of the reliefs, as it clearly evidences how the entirety of Camargo’s abstract work has, at its base, an investigation into the relationship between volume and plane. It has also become necessary to unveil the reason for his insistence on keeping bases in some works and the connection between this fact and the architectonic nature.The part of the work selected for this dissertation goes from the mid 60’s through the 80’s. Another objective of our research was to establish, for the whole of the work of this unique artist – present in several museums in Brazil and abroad – the importance of his getting acquainted with artists such as Brancusi, Vantongerloo, Arp and with contemporary trends. We have also verified how the relationship between Camargo and the Brazilian Concrete and Neo-concrete movements was established. From a theoretical point-of-view, this dissertation has sought grounds in the phenomenology of Gaston Bachelard.
abstract: This research has sought to explicit the architectural quality in the work of Sérgio Camargo. The ‘architectonic nature’, or architectural quality, lies in the reference of the works in question to architecture. These works are connected with the phase of the reliefs via the investigation that Camargo undertakes of the relationship between volume and plane and between shape and matter. We have realized that we were dealing with a passage, that is, a kind of of entr’acte between the reliefs – the artist’s best known phase – and the ’whales’, the final phase of his work. This passage has proved essential for a better comprehension of the reliefs, as it clearly evidences how the entirety of Camargo’s abstract work has, at its base, an investigation into the relationship between volume and plane. It has also become necessary to unveil the reason for his insistence on keeping bases in some works and the connection between this fact and the architectonic nature.The part of the work selected for this dissertation goes from the mid 60’s through the 80’s. Another objective of our research was to establish, for the whole of the work of this unique artist – present in several museums in Brazil and abroad – the importance of his getting acquainted with artists such as Brancusi, Vantongerloo, Arp and with contemporary trends. We have also verified how the relationship between Camargo and the Brazilian Concrete and Neo-concrete movements was established. From a theoretical point-of-view, this dissertation has sought grounds in the phenomenology of Gaston Bachelard.
author: Cunha, Eileen de Mello Fernandes
language: por
keywords: Arte concreta, Escultura
date published: 1997-12
date modified: 2026-07-24T01:16:15Z
provider: Brazil UERJ
publisher: Networked Digital Library of Theses and Dissertations
type: WebPage
source organization: Universidade Federal do Rio de Janeiro

PropertyValue
property ID: Handle
value: http://hdl.handle.net/11422/5580