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| Lula Nogueira Foto: Marcelo Albuquerque |
Maceió - AL (1960)
Lula Nogueira é considerado um dos destaques das artes plásticas do estado de Alagoas. Ele é um artista que privilegia cenas representativas da vida e cultura alagoana, pintando seu cotodiano, além dos aspectos culturais e históricos do estado.
Descrita como "viva, alegre e buliçosa", a arte de Lula Nogueira realmente não faz concessões à mistura de cores: usa e abusa das cores, adicionando um caráter eufórico ao seu ato criativo. Podemos ver o artista adicionando espaços com a cor rosa imediatamente junto ao gramado, como na tela "Praça Sinimbu" (abaixo).
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| "Praça Sinimbu" |
Além disso, muita de suas telas assemelham-se a folhetins multicoloridos, isso sem desmerecer nenhum dos dois gêrenos. Pelo contrário, Lula consegue acrescentar ao naif o estilo de folhetinesco, conferindo textos explicativos enriquecedores em suas telas. Conseguir acrescentar explicação textual a uma figura sem cair na vulgaridade também é uma arte.
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| Fonte: Blog do Carlito Lima |
A Gazeta de Alagoas descreve a obra de Nogueira, comparando-a com a do escritor Eça de Queiroz:
" Assim como a prosa de Eça, a obra do artista plástico Lula Nogueira está “impregnada” da “cor local” – o repertório de histórias, personagens e paisagens no qual Lula, como alagoano, se reconhece como nativo e artista que é".
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| "Bloco Carapeba" |
Lula se preocupa em registrar a memória de sua cidade, Alagoas, que muda muito rapidamente. A obra do artista também faz uma bela mostra das festas populares, das praças, das lagoas locais, sem esquecer dos santos.
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| Texto escrito no alto da tela: "Dona Libé, zeladora do túmulo milagroso da mulher da capa preta, na piedade, uma lenda que atrai devotos no dia dos finados e deu nome a um bloco de carnaval". |
O site da rede de televisão governamental de Alagoas, a Zumbi dos Palmares, traz o texto chamando para a entrevista de Lula Nogueira. No texto, encontramos uma curiosidade digna de ser relatada, como fazemos a seguir:
"Para o escritor alagoano Lêdo Ivo, a arte de Lula Nogueira é Naïf, mas também Pop. Já Viviane Duarte acredita que ele é Naïf contemporâneo. Para o crítico de arte Ruy Sampaio, considerar o pintor alagoano um representante da arte Naïf é um verdadeiro equívoco. Num ponto todos concordam: Lula Nogueira, ao retratar o cotidiano da vida urbana e rural de Alagoas, o faz de uma maneira muito simples e intensa, mas sem o folclorismo. (...) É uma boa oportunidade para descobrimos o quão Naïf este ilustre alagoano é".
Por: Álvaro Nassaralla
LULA NOGUEIRA: Um naïf das Alagoas
Por Mariza Campos da Paz
Vice-presidente da Fundação Lucien Finkelstein
Luiz Nogueira Gomes nasceu em Maceió, em 1960. Lembra-se de pintar desde criança. Começou com dez anos de idade, retratando os cortadores de cana, as estações de trem, as cenas do cotidiano da fazenda do avô no interior. Tudo isso pintado a guache em cadernos de desenho. Ao mesmo tempo, tinha um verdadeiro “museu” no seu quarto. Colecionava objetos, pedaços de fantasias, postais, pendurava-os pelas paredes, improvisava as primeiras colagens.
O artista Pierre Chalita, amigo da família, viu seus desenhos e recomendou que lhe dessem telas, tintas, pincéis. Aos onze anos ingressou no curso de pintura de Vânia Lima, onde aprendeu a trabalhar com outras técnicas, como o fusain, o óleo, o nanquim, etc.
Aos quatorze anos foi para Recife cursar o segundo grau. Era hábito das famílias nordestinas mandar os filhos para Recife, onde o secundário era mais exigente, como um meio de prepara-los para o vestibular. Lula profissionalizou-se em desenho arquitetônico, o que despertou seu interesse pelo patrimônio artístico e cultural do Nordeste.
Lula escolheu Engenharia, levou nove anos para concluir o curso, com várias interrupções. Nesses intervalos, viajou para os Estados Unidos, França, entre outros países. Porém nunca desistiu da arte.
Aos dezenove anos fez oito meses de curso no ateliê de Pierre Chalita. Mas seu espírito irrequieto queria mais, conhecer novas técnicas, experimentar outros materiais. Sua primeira exposição foi aos vinte anos, na cidade de Marechal Deodoro. Pintava sanfoneiros, pastoris, gaiolas de pássaros, casarios, lembranças da infância.
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| "Temocléa" |
Em 1981, abriu a Graffitti Galeria, inaugurada com sua segunda individual, que teve como tema as rendeiras e a vida das lagoas. Expôs vários artistas alagoanos e nordestinos, entre eles alguns naïfs: José Joaquim, Vicente Ferreira, Fernando Lopes, Edgard Bastos, Renan Padilha.
Porém a atividade de galerista não lhe deixava tempo para pintar. Depois de três anos, desistiu do estresse de ser marchand e ligou-se aos grupos de jovens artistas que reivindicavam mais espaço para sua arte: Grupo Vivarte (1985) e Cruzada Plástica (1987).
A partir daí, sempre pesquisando novos temas e técnicas, participou de várias mostras: em 1987 expôs monotipias aquareladas; em 1988, numa série ecológica, começou a fazer colagens, inserindo na pintura, inserindo nas pinturas alguns objetos, anúncios e recortes; em 1991, homenageou os antigos cinemas das Alagoas.
Terminado o curso de Engenharia, foi para Belo Horizonte fazer uma especialização em Urbanismo por dois anos. “Urbanismo me parecia a vertente da Engenharia mais ligada com a arte”, diz Lula. Aproveitou intensamente a temporada mineira: conheceu as cidades históricas e seus tesouros e aprendeu gravura em metal na Escola Guignard.
A VOLTA AO INÍCIO
Em 1993, Lula Nogueira fez sua terceira exposição individual. Os temas e a concepção dos quadros eram naïfs, as colagens ganharam mais espaço nos seus trabalhos que resgatavam memórias da antiga Maceió. Depois disso, participou da mostra Arte Alagoas na Casa de Rui Barbosa, Rio de Janeiro, além de várias coletivas em Aracaju, Recife e Penedo. Em 1994, foi um dos curadores do catálogo Arte Alagoas II, que reúne cerca de cem artistas plásticos alagoanos dos mais diversos estilos.
Pode então perceber o preconceito dos críticos e das pessoas em relação à arte naïf. Muitos o criticaram abertamente pela sua pintura. Foi a psicanálise que o ajudou a confirmar a sua definição.
“A pintura naïf me proporcionou esse mergulho interior, o mergulho na infância, conta Lula. Sem me dar conta, passei a pintar cenas que eu vivi aos dez, doze anos. Era minha história que vinha à tona.O litoral e a zona da mata alagoanos eram muito ricos em folclore. Tudo isso me ajudou a encontrar minhas raízes.”
Dessas raízes começaram a brotar os personagens e paisagens da infância: as tias-avós, que foram suas primeiras professoras, a dona da venda, as fofoqueiras, os engenhos, o Nordeste antigo das fazendas de cana, as festas folclóricas e religiosas, o Brasil caboclo.
O trabalho de levantamento da arte popular de Alagoas – que resultou num livro organizado por Tânia de Maya Pedrosa – abriu para Lula o contato mais profundo com o saber do povo: reconhecer os pios dos pássaros, as artimanhas da pesca, os cantos e danças que se vão perdendo com a chegada do progresso e da modernidade. “Para mim, pintar é também recriar esse mundo perdido”, diz Lula.
Confiante no que fazia, Lula entregou-se ao trabalho com o ardor dos primeiros tempos. Surgiram biombos, retábulos, almofadas, reutilizando diversos objetos como novos suportes. E as colagens foram se firmando cada vez mais, meio por acaso. Ele sente que incluir esses objetos dá mais veracidade aos quadros, conta melhor aquilo que pretende dizer.
Hoje, Lula Nogueira se refugia muitas vezes em Massagueira, uma vila de pescadores à beira da lagoa Manguaba. Lá, encontra seus temas preferidos, a natureza da região os pescadores, a gente simples do lugar que são os melhores críticos da sua arte, pois a vêem com os olhos do coração e não do intelecto. No ano de 2000, Lula fez sua quarta individual, comemorando vinte anos de pintura, na Galeria SESC-AL, numa noite bastante animada, que contou com a apresentação do músico popular Nelson da Rabeca.
Ao convidar Lula Nogueira para mostrar suas obras, o MIAN homenageia não apenas a criatividade do artista naïf alagoano identificado com a sua terra e a sua gente, mas também o pesquisador das cores e dos sons do nosso Brasil caboclo.
Mariza Campos da Paz
Vice-presidente da Fundação Lucien Finkelstein
LULA NOGUEIRA: A naïf from Alagoas
Luiz Nogueira Gomes was born in Maceió in 1960. He recalls himself painting since his childhood. He began at the age of 10, depicting sugarcane pickers, train stations and the daily life at his grandfather’s inland farm. All that painted with gouache on drawing books. At the same time, he had a “museum” inside his room, collecting different objects, parts of outfits, stamps, coins and postcards, all hanging up on the walls and, therefore, improvising his first collages.
The artist Pierre Chalita, also a friend of the family, saw Lula’s drawings and recommended to give him canvas, paint and brush. At the age of 11, he joined in a painting course held by Vânia Lima, where he learnt to deal with different techniques, such as fusain, oil and ink, among others.
At 14 years of age, he moved to Recife to start high school. It was common among northeastern families to send their children to study in Recife, where high school was supposed to be tougher in preparing students to college. Lula finished high school as an architectural designer, which aroused his interest by the artistic and cultural patrimony of the Northeast.
While in
O trabalho de levantamento da arte popular de Alagoas – que resultou num livro organizado por Tânia de Maya Pedrosa – abriu para Lula o contato mais profundo com o saber do povo: reconhecer os pios dos pássaros, as artimanhas da pesca, os cantos e danças que se vão perdendo com a chegada do progresso e da modernidade. “Para mim, pintar é também recriar esse mundo perdido”, diz Lula.
Confiante no que fazia, Lula entregou-se ao trabalho com o ardor dos primeiros tempos. Surgiram biombos, retábulos, almofadas, reutilizando diversos objetos como novos suportes. E as colagens foram se firmando cada vez mais, meio por acaso. Ele sente que incluir esses objetos dá mais veracidade aos quadros, conta melhor aquilo que pretende dizer.
Hoje, Lula Nogueira se refugia muitas vezes em Massagueira, uma vila de pescadores à beira da lagoa Manguaba. Lá, encontra seus temas preferidos, a natureza da região os pescadores, a gente simples do lugar que são os melhores críticos da sua arte, pois a vêem com os olhos do coração e não do intelecto. No ano de 2000, Lula fez sua quarta individual, comemorando vinte anos de pintura, na Galeria SESC-AL, numa noite bastante animada, que contou com a apresentação do músico popular Nelson da Rabeca.
Ao convidar Lula Nogueira para mostrar suas obras, o MIAN homenageia não apenas a criatividade do artista naïf alagoano identificado com a sua terra e a sua gente, mas também o pesquisador das cores e dos sons do nosso Brasil caboclo.
Mariza Campos da Paz
Vice-presidente da Fundação Lucien Finkelstein
LULA NOGUEIRA: A naïf from Alagoas
Luiz Nogueira Gomes was born in Maceió in 1960. He recalls himself painting since his childhood. He began at the age of 10, depicting sugarcane pickers, train stations and the daily life at his grandfather’s inland farm. All that painted with gouache on drawing books. At the same time, he had a “museum” inside his room, collecting different objects, parts of outfits, stamps, coins and postcards, all hanging up on the walls and, therefore, improvising his first collages.
The artist Pierre Chalita, also a friend of the family, saw Lula’s drawings and recommended to give him canvas, paint and brush. At the age of 11, he joined in a painting course held by Vânia Lima, where he learnt to deal with different techniques, such as fusain, oil and ink, among others.
At 14 years of age, he moved to Recife to start high school. It was common among northeastern families to send their children to study in Recife, where high school was supposed to be tougher in preparing students to college. Lula finished high school as an architectural designer, which aroused his interest by the artistic and cultural patrimony of the Northeast.
While in
college, Lula chose engineering, taking nine years to graduate, with long periods of absence. During these times, he traveled to the United States and France, as well as other countries, but never gave up his interest in art. At 19 years of age, he spent eight months in an art course at Pierre Chalita’s studio. His restless mind, however, craved for more knowledge, as he wanted to learn new techniques and experiment with different materials. His first exhibit happened when he was 20 years old, in a small town called Marechal Deodoro. His canvases depicted accordionists, scenes of “pastoril”, bird’s cages, houses, some of his childhood memories.
In 1981, he opened the Graffiti Gallery with his second solo exhibit, which had lacewomen and the life by the lakes as its main motif. He presented different artists from Alagoas, as well as others from the northeastern, some of which were naïf painters: José Joaquim, Vicente Ferreira, Fernando Lopes, Edgard Bastos and Renan Padilha. However, his life as gallery owner did not spare him any time to paint. After three years, he gave up the stressed life as a marchand and joined groups of young artists who claimed more places to show their art: Vivarte Group (1985) and Plastic Crusade (1987).
From that time on, he took part in many events, always searching for new techniques and motifs. In 1987, he exhibited water colored monotypes; in 1988, he began working with collages in an ecological series, placing some objects, ads and cutouts in his paintings; in 1991, he paid tribute to the old movie theatres in Alagoas.
After graduating in engineering, he moved to Belo Horizonte to take his masters in Urbanism, which lasted two years. “Urbanism seemed to me as a ramification of engineering more connected to art”, says Lula. He benefited from his staying in Minas Gerais, visiting the historical cities and learning metal engraving techniques at Guignard School.
BACK TO THE BEGINNING
In 1993, Lula Nogueira held his third solo exhibit. The motifs and the conception in his paintings were all naïf, and the collages gained more space in his works, which rescued memories from his old Maceió. After that, he participated in the “Arte Alagoas”, an art event at Casa Rui Barbosa, Rio de Janeiro, as well as many collective exhibits in Aracaju, Recife and Penedo. In 1994, he was one of the curators responsible for the catalog “Arte Alagoas II” that gathers close to one hundred plastic artists from different styles.
Around this time, he was able to notice some prejudice from the critics and people in general to naïf art. Many were clearly critical about his paintings. Psychoanalysis had an important role in helping him to confirm his choice.
“Naïf painting made me journey to my inmost feelings, my childhood, says Lula. I started painting scenes related to my life when I was ten or twelve years old without even realizing it. It was my own history coming back to life. The coastal region and the inland woods in Alagoas offered a very rich culture. All that helped me to find my roots.”
From these roots, the characters and landscapes from his childhood began to flourish: great-aunts who were his first teachers, the small stores owners, the gossipy women, the mills, the old Northeast full of sugarcane farms, the folkloric and religious parties, the rural side of Brazil.
His research concerning the popular art of Alagoas – which resulted in a book organized by Tânia Maya Pedrosa – brought him a deeper contact with the local people’s wisdom: recognizing the chirp of the birds, the gimmicks of fishing, the songs and dances that disappear as the progress comes along. “In my opinion, painting also means a recreation of this lost world”, says Lula.
Lula dedicated his time to artwork with the same intensity he had in the beginning very confident in what he was doing. He produced partitions, altarpieces and cushions recycling many different objects and using them as new supports. Almost casually, his collages became even more present in his pieces. He feels that adding these objects to his paintings give them more veracity and better express what he wants to show.
Today, Lula often goes to his hideaway in Massagueira, a fishermen villa by the Manguaba lagoon. There, he finds his favorite themes, such as the local nature, the innocent fishermen, who are the best critics of his art, since they don’t analyze it, but feel it. In 2000, Lula had his fourth solo exhibit at the SESC-AL Gallery, a very delightful event where there was also a show by the folkloric musician Nelson da Rabeca.
When inviting Lula Nogueira to show his works, the MIAN pays a tribute not only to the creativity of this naïf artist from Alagoas who is closely connected to his homeland and its people, but also to a researcher of the colors and sounds of our rural Brazil.Mariza Campos da Paz
Vice-president of the Lucien Filkenstein Foundation
Fonte: http://daslagoascanario.blogspot.com.br/
Mais sobre o artista:In 1981, he opened the Graffiti Gallery with his second solo exhibit, which had lacewomen and the life by the lakes as its main motif. He presented different artists from Alagoas, as well as others from the northeastern, some of which were naïf painters: José Joaquim, Vicente Ferreira, Fernando Lopes, Edgard Bastos and Renan Padilha. However, his life as gallery owner did not spare him any time to paint. After three years, he gave up the stressed life as a marchand and joined groups of young artists who claimed more places to show their art: Vivarte Group (1985) and Plastic Crusade (1987).
From that time on, he took part in many events, always searching for new techniques and motifs. In 1987, he exhibited water colored monotypes; in 1988, he began working with collages in an ecological series, placing some objects, ads and cutouts in his paintings; in 1991, he paid tribute to the old movie theatres in Alagoas.
After graduating in engineering, he moved to Belo Horizonte to take his masters in Urbanism, which lasted two years. “Urbanism seemed to me as a ramification of engineering more connected to art”, says Lula. He benefited from his staying in Minas Gerais, visiting the historical cities and learning metal engraving techniques at Guignard School.
BACK TO THE BEGINNING
In 1993, Lula Nogueira held his third solo exhibit. The motifs and the conception in his paintings were all naïf, and the collages gained more space in his works, which rescued memories from his old Maceió. After that, he participated in the “Arte Alagoas”, an art event at Casa Rui Barbosa, Rio de Janeiro, as well as many collective exhibits in Aracaju, Recife and Penedo. In 1994, he was one of the curators responsible for the catalog “Arte Alagoas II” that gathers close to one hundred plastic artists from different styles.
Around this time, he was able to notice some prejudice from the critics and people in general to naïf art. Many were clearly critical about his paintings. Psychoanalysis had an important role in helping him to confirm his choice.
“Naïf painting made me journey to my inmost feelings, my childhood, says Lula. I started painting scenes related to my life when I was ten or twelve years old without even realizing it. It was my own history coming back to life. The coastal region and the inland woods in Alagoas offered a very rich culture. All that helped me to find my roots.”
From these roots, the characters and landscapes from his childhood began to flourish: great-aunts who were his first teachers, the small stores owners, the gossipy women, the mills, the old Northeast full of sugarcane farms, the folkloric and religious parties, the rural side of Brazil.
His research concerning the popular art of Alagoas – which resulted in a book organized by Tânia Maya Pedrosa – brought him a deeper contact with the local people’s wisdom: recognizing the chirp of the birds, the gimmicks of fishing, the songs and dances that disappear as the progress comes along. “In my opinion, painting also means a recreation of this lost world”, says Lula.
Lula dedicated his time to artwork with the same intensity he had in the beginning very confident in what he was doing. He produced partitions, altarpieces and cushions recycling many different objects and using them as new supports. Almost casually, his collages became even more present in his pieces. He feels that adding these objects to his paintings give them more veracity and better express what he wants to show.
Today, Lula often goes to his hideaway in Massagueira, a fishermen villa by the Manguaba lagoon. There, he finds his favorite themes, such as the local nature, the innocent fishermen, who are the best critics of his art, since they don’t analyze it, but feel it. In 2000, Lula had his fourth solo exhibit at the SESC-AL Gallery, a very delightful event where there was also a show by the folkloric musician Nelson da Rabeca.
When inviting Lula Nogueira to show his works, the MIAN pays a tribute not only to the creativity of this naïf artist from Alagoas who is closely connected to his homeland and its people, but also to a researcher of the colors and sounds of our rural Brazil.Mariza Campos da Paz
Vice-president of the Lucien Filkenstein Foundation
Fonte: http://daslagoascanario.blogspot.com.br/
Obrigado por tudo 🙏🙏🙏
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