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A comparison of Antoni Gaudí (1852 – 1926) / Barcelona / Spain – - Secret § Facade of the Temple Family with Poty Lazzarotto (1924-1998) CTBA-BR

                 As reported by Stella Pandell Russell in his book Art in the World â € œ … [. . .] The essence of creation is in recognition of beauty, when occurs.â € (Lippold, Sculpture, 1973). But the treasure of an artistic expression (Taylor 51-68) requires the governors responsibility to preserve it. What is the price that society has been paying for a period so long time for mankind can behold the spirit and genius of Gaudí Poty? In this regard, Curitiba has grown so much! Proper use of Architecture and Art! Governors Curitiba during the last decades are based on early drafts of Jaime Apprentice, an architect, who pioneered a revolution in terms of planning urban, and the city is considered one of the most beautiful in Brazil. Lazzarotto Postal is the important buildings in Curitiba. His murals can be seen in government Palacio, parks, museums, airport, near roads, plazas, market, library, and as a facade in front of the FAA § GuaÃra Theatre, which has been considered a of the largest theaters in South America has long been the main entrance made of concrete is the closest Lazzarottoâ € ™ work For Gaudí € ™ s s. Like the Secret Temple, Theatre GuaÃra also started with a smaller project. The first theater was called Guairinha ( € œDiminutive of GuaÃra in Portugueseâ €). Similarly, on the other side of the secret Temple was also built in a second time. Aggregation Sculpture Art (171 Russell) to the new buildings is remarkable in both cases, regardless of the elements of Gaudí appear to be associated with writing to the FAA § ade (Taylor 151). The sculptural elements are (See Russell 150) located in a special environment, a space created for them (Russell 213). Poty € ™ s  Work is also made up of different objects, designed and harmonized together. The two have a special language (Russell 40), but looks much as a feature specific, as a closer can be a growing sense that artists express their creativity and potential, as seen in this comparison. But isnâ t ™ € transparent. You have to have the desire to look and compare.

            And Barcelona located in the Mediterranean Sea in the north end of the Spanish coast, is undoubtedly the most cosmopolitan and economically active city in Spain. He has always shown his desire to be modern, to follow the latest international tendencies or be ahead of them. You can see the tradition and innovation side by side (See Russell 372). Bearing into account the architecture of Barcelona tourism reflects the general approach to life. Barcelona has a long history, counting on the monuments of Romanesque, Gothic and Renaissance especially those created in the last century. â € œBarcelona has been a center of modernism, characterized by the works of Gaudí and his contemporaries, which gave it exciting, but it has remained since then at the top of modernity.

           Gaudí and Poty confrontation € ™ s § ades faa provides customization and aggregation of social value in addition to the institutions. Gaudí centers its attention to religious arguments – - (front façade § – € ™ birth Jesusa) 02 – - (see Russell 02), and Poty is a retrospective of the theater everyone in the FAA § ade (see Russell 04).

            ⠀ according to CERN Michael Foucault (1973) intellectual practices can be identified as statements that it will look in the denial of the merely empirical status. These speeches arenâ ™ € t linked to the legitimization of power, but how someone can get to [the truth. . .]  € (Alexander 38-39)

        One can consider that each space created is a social fact. As defined:   ⠀ œ [. . .] Ways to do something, stable or not, every time itâ € ™ s possible, have an external coercion on the person, or all the way to an extension of a company having an independent existence, independent of other manifestations € (Durkheim 12). Both faa § ades love anyone, addressing imaginary space.

      The comparison of their performance art, the Temple family secret, and GuaÃra Theatre Facade § ades, no matter the splendor of the church itself, one can get an idea of custom duty. The context in each of them was involved must be observed so that the murals can be understood as the emergence contemporary social values, represented by their creations, enlightening and charming cities church and theater lovers and tourists. â € œThe empirical reality reconstruction of the rating in terms of analysis and unification of the results is a good way to keep longer questions from the observerâ € (Orestes 31). But contemplation does not exclude anyone.

           Antonio Gaudi inspired so many writers over the years since its first biographies were printed, especially between 1829 and had Gaudi 1953.â Authors € € ™ s sometimes confusing image. A cultural and political revival took place in Europe and that was the context.

            It was a moment of economic prosperity and urban expansion under the sponsorship of a middle class that wanted to be in compliance with new Europe's best styles. As Marx (68) observed mainly on religious beliefs in Europe: â € œ [. . . ] To the criticism of society, and especially a feudal, with the latter, who had to fight was a critical point was that Christianity over paganism of Roman Catholicism and Protestantism.

            As mentioned Gaudí: â € œ … something done so we can avoid waste, and results work can be seen only by the continuous work that combines reflection and action, creativity precursor requirements €. He was born in June 25, 1852 in Earth Baja, in Tarragona, Spain. His works are still preserved and its methods of work and research are known. He was considered a very smart kid, but always sick. His desire to do something in architecture began with the tours had at the time he and his friends began to engage with the discourses of recovery architectural heritage of their city. Then he graduated in Architecture in 1878, in Barcelona, where his skills were recognized not only for the calculation, but a great creativity. His project was guided by Violles-le-Duc, Elies Rogent, where it shows a great interest in technology, materials, applied to the construction Arts, and old styles are well known in the past. He had to demonstrate its ability to Rogent Elies given the title of Architect stating that he did for a fool or a genius. Opportunities to demonstrate their powers were from La Casa Vicens, and were finally accepted by the society of Barcelona. Eusebi Güell (1846-1918) was impressed with the uniqueness a piece of wood iron glass and from that moment, Güell was among its largest customers. The 80A ™ € s represent an advance in his career demonstrating his talent working in all forms of architecture as, residences (Güell Palace), designs such as El Capricho de Comillas a pavilion of the Compaa ± ia Transatlantica the Exhibition of Cadiz, and religious – - Episcopal Palace of Astorga  Ofa, Teresina school and the Temple of the Family Secret Barcelona. He was aided by the authorities as Enric dâ € ™ à "sso, the founder of the school â € œLas of Teresinasâ € and bishops Torras i Bages, the most influential religious ideologies in the late nineteenth century. The general idea of his generation modernist, nominated the Catalan movement which corresponds to Art Nouveau had its format in 1888. But Gaudí could go along the historical boundaries that dominate the period and formulation their own concept of beauty, which made its unmistakable style every time, and difficult to classify, at the same time. She refuses the proposal to participate in municipal elections in 1905 and devotes time to run the FAA § ade of the entries, the Temple family secret until his death in 1926. â € "This shows Gaudi faa § ade € ™ s concern for portraying Jesusa € ™ birth, showing all the scenes and characters included in the passage, like animals, plants, human figures, angels, and the family secret (St. Mary, St. Joseph and Child Jesus). Gaudí took over even the entry position Facade of the Nativity by showing § ade to the East, because the rising sun comes from that direction, and the ADE § Passion façade on the opposite side, due to the sunset. â € CERN 1900, § ade faa reached 32 meters. There are three doors. The first represents the hope left, center, Jesusa € ™ birth, and the right represents the faith. Matemal helped Gaudí, so they become very close reproductions in view of the animals, human bodies and figures represented.â € 04 â € œThe Secret of the family is considered a standard Gothic-inspired modern architecture and the largest project of Gaudi € ™ s life. It paints an entrance to the temple by presenting singers in 1500, seven children, five organs, and this appears to be monumental € 05 scenery.â theater

           His relationship with the people of the church should intensify their deep religious feelings and intentions. He spent considerable time working with the secret of the Family (1884) and even stopped to accept different projects (1908) working on it until 1926. The church, which remains in the remodeling after 115 years since its inception, became notorious visitor center in Barcelona. Gaudhi was considered modern but not modernist. He was the son of his time, not because modernity embodied as well as some intellectuals interpreted his work. Gaudí projection is in Catalonia, but not with the noise of the passages because of their scandalous revolutionary concepts of art, and there are critics who could not understand. To the As Clemenceau repport: â € œGaudi was an eccentric man with the personality of a genius, sometimes rude to people who worked with hima €. But is also reported to be generous and honest. His greatest work was heavenly Jerusalem. Oriol Puig and Josep Carner (1884-1970), wrote: ("If it enjoys Modernism / no you is real © is half way: / The paroxysm reach / of Gaudí enjoy it with him ") 05 (Meaning: One can understand better with modernism Gaudi).

           If we take into account new trends in terms of Arts in Brazil have be noted that the beginning of the 50th ™ € s prints a new radical change in the whole system of art. In 1922, (Gaudí was near its end), one of the great art movements in Brazil participated and was called the Modern Art Week. Since then, modernism was always the first reference in terms of tendencies.06 From Curitiba, Paraná, Brazil, Poty was a contemporary of all these events. But his work remains very regional and away from all these trends. Gaudí and could even be competing Poty with other artists of his time, and exposed to many cultural influences.

           As Regina reviews Casillo: â € œAll cities have their own values, such as Minas Gerais is Guignard, Di Cavalcanti to Rio de Janeiro, Curitiba and was given today by the gods Lazzarotto Potyguara for Napoleon as its primary value (trans.). â € 06 Poty was born in Curitiba, March 29, 1924, providing a signal of his fate. It is the date, Curitibaâ € ™ s birthday, as the former prefect Rafael Greca de Macedo said: â € œThe city that never get stressed to portray in his paintings. "Poty € ™ s work is centered on the wall where you want visitors or not, go in the capital of Paraná, São Paulo or Rio de Janeiro.

          His talent noticed designated Lazzarottoâ € ™ s life since I was fourteen. He created a character named Harold, and then became famous for his figures. His work is known throughout the world, especially in Rio de Janeiro, where one of his murals was destroyed by fire in 1964. In Sao Paulo, created the mural called the Memorial of Latin America. But it is in their work Paraná more representative.08 attended the Faculty of Arts of Curitiba. The murals are large, and the comments of his work never confused. His favorite materials are cement, tiles, stained glass, and wood, and as noted in the large murals such as "Largo da Ordem" that represent the cars of groceries, and colonial Polish people Italian basically near Largo da Ordem Curitiba. Another marvelous work is the mural in the Plaza 19 de Dezembro to celebrate the centenary of Paraná. In Iguazú § u Palace, one can see the mural Allegory of Paraná, which is the FAA § § ade Iguazu or Palace when it opened in 1953 (the same technique Theatre). The main works were discussed in front of the Teatro GuaÃra that Poty § € ™ s facade is. Portrayed in the World Theatre (1969). â € œBefore died in 1998, Poty could see an exhibition organized by CEF, one of the strongest

banks in Brazil, with designs schemes and models that could be seen together for the first time, as Mrs. Casillo explains.â € 09 A difference of Gaudí, which he left unfinished temple secret.

           The preliminary consideration is the fact that the first stage began to be built (1855) in Curitiba, while walking first steps Gaudí (1852). But the first one opened (1884) is now the Public Library building in Curitiba. GuaÃra Theater was originally a prison during the Federalist Revolution in 1900 and only reopened under the name of La Guaira. It was demolished. In 1952 he was reconstructed by public demand under the command of Rubens Meister (architect). The first stage was Salvador de Ferrante (1954) and the large one was built 16 years later. A fire destroyed the theater in 1970 and was finally concluded in 1975, becoming one of the greatest artistic and cultural complexes in Latin America. Only after all these reforms, Poty Lazzarotto, the artist who signed § The front facade and had worked on the designs was hired (not run their work). It also projected the barrage of stage Bento Munhoz da Rocha Neto. He created the curtain of fire, the largest theater known as Salvador de Ferrante Auditorium, both Laila executed jar, and Carine Carmen. As Laila said, Poty followed the execution of her work as the ADE § facade of the theater, and even add things outside project to the curtains. Gaudí didnâ € ™ t due to the accident that stole his life.

          §  GuaÃra Theatre facade (24.50 x 4.80) provides a wonderful view of the evolution of theater worldwide. Different shades of gray and white observed (molds produced by Poty, were of wood, providing a different key) as well as different levels of a cement structure plan, divided into several rectangles, set at levels so different (some of them are negative). Contrary to the panel made with the same technique (on the walls of the Palace § u Falls) can see that lines are different variables. In Plate Guaira, Poty band uses lines much more than straight lines, as seen in the mural of the Palace Iguazu § u (Taylor 55). Poty is the son of European immigrants, and had the concern to show the people from rural areas of northern Brazil, known as caipiras and cangaà § Eiros. The existence of communities with different costumes can be seen as one of its arguments. â € œThere are some communities living in a society total secreted. They live in the diaspora, relationships, except the inevitable and the legal situation is normally [precarious. Â. Â. ]  € (Weber 221). It was a very common feature of Brazil, taking into account the problems of ethnicity, even today.

           A wonderful setting for a retrospective of the evolution of the theater over time and across the world can see if it focuses the view from the left the right to readwhat Poty want to convey. It begins with the presentation of a pine tree (symbol of southern Brazil – - Araucaria angustifolia – -), and a citizen of age in contrast to a young, fire, and a mask. Then, a second stage, showing a path, leading to a village. Immediately after, a large eye, some architectural lines and the figure of a pair of cangaà Eiros § – - A typical character of northern Brazil. Poty also provides a group dancers, involved in abstract representations, and an angel can be seen near the signs. He puts two women side by side. One of them is too warm with a long dress and has a fan. The second is very modern and carries a purse. The last time was focused on the right portrays a world, carried by a truck. Many instruments can also be viewed as a harp, a violin and a trumpet. Finally, a man wearing a hat may be noticed in the back. § The total image of the facade remains inside the boards.

         If for any reason, Poty € ™ s work came to be printed the historical, primarily concerned with regional cultural aspects, as it always does, that was not Gaudi € ™ s concern, because the secret Family is a universal religious symbol. But â € œPoty also referred to as portraying the universal values, no matter who had regional focus.â € 10 Therefore, both can be considered similar in terms of this reference.

        Gaudí should be much more useful to humanity if he had worked only with their designs and projects, reserving the builders responsible for incorporating the securities to buildings. But this is a utopia. It seems that had to be it. Today, with the division of labor, especially with established contemporary vision of the world, it seems that people know exactly how life is too short to book as many achievements for one man (Gaudi € ™ s death is associated with stress). Poty works with different plans and a volume of Gaudí (His figures are represented in the natural side.) It is interesting to note that Gaudí represents animals, much more realistic human figures.

        Gaudí is being considered a saint. He could project not only complement (FAA § ade) as part of the building. Gaudí was a century ahead of his time, and also by Picasso, Miro and many others, would make Barcelona the city number one in terms of style, aesthetics, innovation, attracting people of various nationalities to contemplate its extraordinary production of works, even influencing Portinari one of the most famous artists in Brazil. And Curitiba has a special atmosphere of a â € € œelsewhereâ inviting people to meet the gap architectural creations using Poty metaphorically € ™ s work as an invitation to attract visitors. With a modern vision incorporates Poty historical evidence where possible to the modern buildings, which seems to be the opposite Gaudí € ™ s work, because it shows the modern creations incorporation of biblical references especially a Gothic building (family secret of the Temple), typical of medieval architecture, perhaps for its extreme religiosity. But there is a general theme of her creations. His work is as strong as Poty € ™ s.

           In conclusion, it can be deduced from this approach, which submerged industrial society brings all the principles especially in the last two centuries. Architecture Modern is coming down, because the moral legitimacy of his aesthetic and philosophical reasons donâ € ™ t exist. However, [. . . ]  € œ Modernity As Baudelaire wrote in his article The painter of modern life printed in 1863, is the transitory, the avoidable, the contingent, which is half of art, being the other half of the eternal and immutableâ € (Harvey 21).

           People can have interfaces of different interpretations of urban life and open a space on each new conception of art itself. Laila Tarra As mentioned in an interview: â € œThere is look € innocent. And there is a code of spaces in cities today. Space for leisure, residential, business, marketing, parks, shopping centers, churches, hospitals, etc. Make works of art add anything to these spaces, or diminish the functionality of that space? It is not uncommon to hear people saying, â € œBut this Poty € ™ s mural was a fortune for the government … œOr â €, â € œGaudi should have spent all the money families in a very difficult time (war) … â €. As Mirabeau said: [. . . civilization] is of no use to society if itâ € ™ s not the form and substance of virtue (Elias 54). Â

           Like Barcelona, Curitiba has the concept property rights on the configuration of the art of printing a unique language in terms of style. â € œArtists reported last to watch the futureâ € (Taylor177).

                       As Stella Russell Pandell reports â € œ … Everyone can participate in the drive to create, but not all are creative at the same € degreeâ [. . . ] (Russell 21). And this is wonderful, because every human being has a different understanding and interpretation of reality. The fact that both artists have printed personality in these places should be considered not only as a manifestation of the extraordinary human potential to create, but also the need for a meeting with beauty, and the summary of their relative concept, by chance passing in front of public buildings that immortalize the life of every people and the personalities of the artists.

           But Gaudí and Poty had style, and very specific focus in terms of thematic performance can not be ignored by the eyes of Curitiba brushes, which can be abstracted from traditional cities in Europe, some very well known for planning competing urban and appropriate accidentally introduced in the city. As much as one sees, as one can see much more! Itâ € ™ s until no one

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http://www.fabricamus.com/servizi/oggiparliamodi/apropositodi.htm

MSN. Expiadourabili. Http://www.em.ufop.br/op/aleij.htm January 19, 2003.The Â

MSN. Poty Lazzarotto. Â January 17, 2003.

http://www.webhotel.com.br/parana/turismo/tc_curiatra.htm

MSN. Poty Lazzarotto. Â January 17, 2003.

http://www.celepar.br/celepar/setr/aeroportos/fotosap.html

MSN. Poty Lazzarotto. Â January 17, 2003 http://www.celepar.br/celepar/setr/aeroportos/fotosap.html

MSN. Poty Lazzarotto. Â January 17, 2003 http://www.londrina.pr.gov.br/museudearte/obras1.php3?Codigo=obra30&Titulo=Auto

MSN. Poty Lazzarotto. Â January 17, 2003. www.bonde.com.br / marciaohde / potty-detalhe.htm

MSN. Poty Lazzarotto. Â 17 January 2003. www.bonde.com.br / marciaohde / poty.htm

MSN. Poty Lazzarotto. Â January 17, 2003. www4.sul.com.br/sa/poty1.htm

MSN. Poty Lazzarotto. Â January 17, 2003. www.lancaster-hoteis.com/ingles/planta2.htm

MSN. Poty Lazzarotto. Â January 17, 2003. www.celepar.br / Celepar / SETR / Airports / fotosap.html

MSN. Poty Lazzarotto. Â January 17, 2003. www.contracampo.he.com.br/25/avisitadovelhosenhor.htm

MSN. Poty Lazzarotto. Â January 17, 2003. Www.celepar.br/curitiba/ctba44.html

MSN. English and American Studies. January 25, 2003. http://www.art.man.ac.uk/ENGLISH/staff/te/home.htm

MSN. Learn to look. Â Â Â January 25, 2003.http: / / ifets.ieee.org/periodical/vol_1_2002/rountree.html

MSN. Art World. January 25, 2003. http://www.art-for-the-world.com/

MSN. From Abacus to Zeus. January 25, 2003. http://www.papiermache.co.uk/exec/cms-books/p-view/isbn-0130197289

MSN. Learning to Look. January 25, 2003. http://www.erasmus-foundation.org/old_site/REIN12.HTM

MSN. Mappings ideas. January 25, 2003

http://www.bedfordstmartins.com/barnetbedau/content/instructor/content/xxx_menu.htm

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Wielren Profcriterium Wateringen – 2009-07-30

How I can have a chat with the person who answered me in the fourth?

I was telling a child to meet me anywhere, that I'm in France.Some were surprised by the fact that I am married.Things are complex.My husband is a little older than me and mentally is a bit confusing at home only sleft times.My daughter of hectares for now and going on the web helped me get through hours of solitude. The boy told me is much younger and he said in his mic and work. We had a kind of telepathic connection. When I was back in France last May, I wanted to do a picture of him when he appeared on the screen. It was not easy and I dropped the subject. Something told me to come to my inbox and I realized that I had sent his own image, at the same time. We watched the soccer matches like we were together in the same room, sharing of feedback. "I informed him about the Open tennis matches in France, and were not sent in your city. Then it was the Tour de France. We had discussions about religion and music. But he changed two months ago.

What is the question? Me lost somewhere between the fourth and football matches