Vol. 7 No. 3 (2023)

Editorial

01-21

Modes of displaying, viewing and interpreting

https://doi.org/10.20396/modos.v7i3.8674932

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DOI: https://doi.org/10.20396/modos.v7i3.8674932

Articles - Collaborations

Robert Wilkes

22-52

A historical and iconographic analysis of Charles Landseer’s Brazilian paintings

https://doi.org/10.20396/modos.v7i3.8673148

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DOI: https://doi.org/10.20396/modos.v7i3.8673148

Maria Bernardete Ramos Flores

54-93

Anthropophagy in Glauco Rodrigues' Art: regarding the 1st Bienal Latino-Americana de São Paulo or a Praise of Miscegenation

https://doi.org/10.20396/modos.v7i3.8673308

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DOI: https://doi.org/10.20396/modos.v7i3.8673308

Laurens Dhaenens

95-116

Sympathy or strategy? a close look at the Belgian exhibitions of modern and contemporary art organized in Argentina in 1946 and 1948.

https://doi.org/10.20396/modos.v7i3.8673725

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DOI: https://doi.org/10.20396/modos.v7i3.8673725

Luiz Sérgio de Oliveira

118-147

"Art Across the Bridge": The UFF Art Gallery and the experience of a university exhibition space (1983-1986)

https://doi.org/10.20396/modos.v7i3.8673596

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DOI: https://doi.org/10.20396/modos.v7i3.8673596

José Cirillo, Júlia Mello

149-177

Memory and artistic heritage: an excerpt from the art history of Espírito Santo from the collection of the Galeria de Arte e Pesquisa (1976-1992)

https://doi.org/10.20396/modos.v7i3.8673292

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DOI: https://doi.org/10.20396/modos.v7i3.8673292

Caroline Alciones de Oliveira Leite

179-199

Noises from the Casa de Vidro: Pietro Bo

https://doi.org/10.20396/modos.v7i3.8673441

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DOI: https://doi.org/10.20396/modos.v7i3.8673441

Clara Habib de Salles Abreu

201-231

Displacement and destruction: notes on the relationships between relocation of objects, iconoclasm and repatriation

https://doi.org/10.20396/modos.v7i3.8673320

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DOI: https://doi.org/10.20396/modos.v7i3.8673320

Dossier - An inventory of moments: collections and connections within art history

Marize Malta, Emerson Dionisio Gomes de Oliveira, Maria de Fátima Morethy Couto

233-264

In a few moments, another art collection and another study on collections...

https://doi.org/10.20396/modos.v7i3.8674784

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DOI: https://doi.org/10.20396/modos.v7i3.8674784

Alessandra Paiva Simões

266-287

ESCALA Collection: a British collection and its connections with the internationalization of Latin American art

https://doi.org/10.20396/modos.v7i3.8673028

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DOI: https://doi.org/10.20396/modos.v7i3.8673028

Glaucia Villas Bôas

289-322

The Chilean Letters of Mario Pedrosa

https://doi.org/10.20396/modos.v7i3.8673306

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DOI: https://doi.org/10.20396/modos.v7i3.8673306

Cristielen Ribeiro Marques, Lisbeth Rebollo Gonçalves

324-357

Patricia Phelps de Cisneros and Eduardo Costantini Collections: connected histories in Latin American Art Collecting

https://doi.org/10.20396/modos.v7i3.8673247

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DOI: https://doi.org/10.20396/modos.v7i3.8673247

Felipe Chaimovich

359-376

The invisible collection of the mirrors of Versailles

https://doi.org/10.20396/modos.v7i3.8673272

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DOI: https://doi.org/10.20396/modos.v7i3.8673272

Luiz Alberto Ribeiro Freire

378-404

The maquineta collection of Francisco Portugal Guimarães

https://doi.org/10.20396/modos.v7i3.8673296

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DOI: https://doi.org/10.20396/modos.v7i3.8673296

Maria Teresa Silveira

406-432

Home, collecting and decoration: the Brazilian Baroque style at the Eva Klabin House Museum and the Açude Museum

https://doi.org/10.20396/modos.v7i3.8672958

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DOI: https://doi.org/10.20396/modos.v7i3.8672958

Diego Souza de Paiva

434-468

Under the sign of absence: the Museu Pinacoteca do Estado do Rio Grande do Norte, an inventory of moments and their relations with the history of art

https://doi.org/10.20396/modos.v7i3.8673288

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DOI: https://doi.org/10.20396/modos.v7i3.8673288

German Alfonso Nunez

470-503

The artist's shepherd and the friends of the museum: The São Paulo Museum of Modern Art, its social circles, and the reconstruction of its collection (1968-1982)

https://doi.org/10.20396/modos.v7i3.8673291

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DOI: https://doi.org/10.20396/modos.v7i3.8673291

Joseania Miranda Freitas

505-525

Pre-Hispanic art as an inspiration for decolonizing decorative art museums: report on a teaching experience

https://doi.org/10.20396/modos.v7i3.8673623

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DOI: https://doi.org/10.20396/modos.v7i3.8673623

Tatiana da Costa Martins

527-552

Harald Szeemann, the collector of obsessions

https://doi.org/10.20396/modos.v7i3.8673307

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DOI: https://doi.org/10.20396/modos.v7i3.8673307

Fabriccio Miguel Novelli Duro

554-593

Private initiatives on behalf of Brazilian art: the role of 1884’s General Exhibition in the collection of the Imperial Academy of Fine Arts

https://doi.org/10.20396/modos.v7i3.8673074

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DOI: https://doi.org/10.20396/modos.v7i3.8673074

Priscilla Perrud Silva

595-615

The life and death of a printmaking collection: the Paulo Menten collection at the Núcleo de Gravadores de São Paulo - NUGRASP (1960-1970)

https://doi.org/10.20396/modos.v7i3.8673301

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DOI: https://doi.org/10.20396/modos.v7i3.8673301

Maria Inez Turazzi

617-646

Visual Brasilianas: new perspectives on multidimensional collections

https://doi.org/10.20396/modos.v7i3.8674232

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DOI: https://doi.org/10.20396/modos.v7i3.8674232

Bianca Andrade Tinoco

648-678

The Patrons of Contemporary Art Program and the collection of the Pinacoteca do Estado de São Paulo

https://doi.org/10.20396/modos.v7i3.8673304

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DOI: https://doi.org/10.20396/modos.v7i3.8673304

Fabíola Cristina Alves

680-707

Mail art between contexts: The NAC-UFRN collection and other connections

https://doi.org/10.20396/modos.v7i3.8672892

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DOI: https://doi.org/10.20396/modos.v7i3.8672892

Yacy-Ara Froner Gonçalves, Bruno Henrique Fernandes Gontijo

709-737

MoMA's 512 gallery: Artistic displacements and the perpetuation of a narrative

https://doi.org/10.20396/modos.v7i3.8673200

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DOI: https://doi.org/10.20396/modos.v7i3.8673200

Exhibitions / Review

Letícia Martins de Andrade

739-775

What can a one-note samba do? : reflections on art history and museology from the Sant’Ana Museum, Tiradentes, Minas Gerais

https://doi.org/10.20396/modos.v7i3.8673302

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DOI: https://doi.org/10.20396/modos.v7i3.8673302

Montage: the context of exhibitions

Fercho Marquéz-Elul

777-805

Lapidaries: from the library section to the exhibition and reproduction of the stones – publication, stone, table

https://doi.org/10.20396/modos.v7i3.8673507

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DOI: https://doi.org/10.20396/modos.v7i3.8673507