ABSTRACT

Painter Pancetti and His Projection in Social Art
The thesis studies the pictorial work of Brazilian José Pancetti (1902-1958), from a point of view that is uncompromised with traditional ties. To better understand it, the following question is analized: Does Pancetti´s classification as a seascape painter (attributed to him) properly represent his pictorial work? To answer it, the painter´s endeavours in various styles and schools are pointed out and discussed, connecting them to his influences in order to provide elements for a more fundamental analysis of the painter, which has not been carried out yet and which more reliable source will be his own work. Brazil´s social and cultural changes in the first half of the 20th century are discussed under methodological schemes developed by some of its most important authors, but searching in between lines at the same time for comprehension beyind its forms. Based on this literature and combining it with stories by figures remaining from this period, it was possible to focus the artistic actions developed by the Núcleo Bernardelli group (where Pancetti was a member) in formulating Brazilian modern art. Research confirms that the painter has travelled a long road to carry out his work, featuring both progress and setbacks, which arise from the artist´s own condition as he faces the obstacles imposed by the art of painting. Analysis shows social and cultural concerns as well as Brazilian-themed features (la brasilidad) that show in the painter´s work, where it is concluded that expresivity and simplicity are the predominant keys in his art. Thus, plurality and heterogeneity circumscribe his work, therefore setting aside his seascape painter stereotype, contributing to a wider and better (ack)knowledgement of his pictorial work and taking it to a whole new dimension.