URBAN RHYTHMS

Authors

  • Lucia Teixeira UFF – Universidade Federal Fluminense

DOI:

https://doi.org/10.21709/casa.v8i2.3325

Keywords:

rhythm, tensive semiotics, Mondrian, Antonio Bandeira

Abstract

The article analyses two abstract paintings: New York City (1942), by Mondrian and A grande cidade iluminada (1953), by Antonio Bandeira. It compares the plastic rhythms in both, based on the concept of tensive semiotics of rhythm as an instance of tonicity over temporality. The paper also discusses the tensions between word and painting, which make interpretation oscillate between insubordination and precision.

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Published

11/01/2011

Issue

Vol. 8 No. 2 (2010)

Section

Papers

License

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